The work was not presented to Russian audiences until the 1990s, most notably by the Mariinsky Theatre, after the dissolution of the Soviet Union.

Prokofiev was more intrigued by the “orgies” (here, indulgence of passion) presented in the novel rather than the story ideas.

[4] The novel was inspired by Bryusov’s own experiences with Nina Petrovskaya, and was considered one of the beginnings of the Russian Symbolist movement known as Vesy, or “The Scales”.

There was an anticipated brawl on a remote road in Moscow, but a mutual friend of Bryusov and Bely prevented the fight.

This angel, Madiel, encouraged her to do good deeds, and at the age of seventeen she finally asked for his physical love.

Ruprecht learns that Renata has finally found Count Heinrich von Otterheim, who has rejected her.

(This tavern scene, used to break up the dark sarcastic nature of the opera, is sometimes left out.)

As an attempt to heal Renata ensues, all Hell essentially breaks loose (both on stage and in the orchestra) as the other nuns are also possessed.

[8] With no previous commissions or any actual production being present, Prokofiev set out to write The Fiery Angel at one of the only times of his life in which religion was considered for his works.

[10] In 1926, Bruno Walter made Prokofiev an offer to have The Fiery Angel produced at a Berlin theater, which prompted the composer to work on the orchestration.

[12] Prokofiev, who had been working on the opera for years, was reluctant to let the music languish unperformed, and after hearing a concert performance of its second act given by Serge Koussevitzky in June 1928, he adapted parts of the opera to make his Symphony No.

The first concert performance of the work occurred in Paris on 25 November 1954, the year after Prokofiev's death.