The ballet "Romeo and Juliet" might not have been. In 1934 Prokofiev discussed the possibility of staging "The Gambler" and "The Fiery Angel" in Leningrad. Then Adrian Piotrovsky (director of Lenfilm and consultant to GATOBA) put forward the idea of a new opera and, among other subjects, proposed Shakespeares tragedy. The idea of "Romeo" as a ballet finally took shape by May 1935.
The second godfather of this performance was Sergey Radlov. Co–author of the script, he proposed radical alterations of Shakespeare, the most fantastic of them is a happy ending.

The ballet "Romeo and Juliet" might not have been. In 1934 Prokofiev discussed the possibility of staging "The Gambler" and "The Fiery Angel" in Leningrad. Then Adrian Piotrovsky (director of Lenfilm and consultant to GATOBA) put forward the idea of a new opera and, among other subjects, proposed Shakespeares tragedy. The idea of "Romeo" as a ballet finally took shape by May 1935.
The second godfather of this performance was Sergey Radlov. Co–author of the script, he proposed radical alterations of Shakespeare, the most fantastic of them is a happy ending.

The ballet "Romeo and Juliet" might not have been. In 1934 Prokofiev discussed the possibility of staging "The Gambler" and "The Fiery Angel" in Leningrad. Then Adrian Piotrovsky (director of Lenfilm and consultant to GATOBA) put forward the idea of a new opera and, among other subjects, proposed Shakespeares tragedy. The idea of "Romeo" as a ballet finally took shape by May 1935.
The second godfather of this performance was Sergey Radlov. Co–author of the script, he proposed radical alterations of Shakespeare, the most fantastic of them is a happy ending.

The ballet "Romeo and Juliet" might not have been. In 1934 Prokofiev discussed the possibility of staging "The Gambler" and "The Fiery Angel" in Leningrad. Then Adrian Piotrovsky (director of Lenfilm and consultant to GATOBA) put forward the idea of a new opera and, among other subjects, proposed Shakespeares tragedy. The idea of "Romeo" as a ballet finally took shape by May 1935.
The second godfather of this performance was Sergey Radlov. Co–author of the script, he proposed radical alterations of Shakespeare, the most fantastic of them is a happy ending.

The ballet "Romeo and Juliet" might not have been. In 1934 Prokofiev discussed the possibility of staging "The Gambler" and "The Fiery Angel" in Leningrad. Then Adrian Piotrovsky (director of Lenfilm and consultant to GATOBA) put forward the idea of a new opera and, among other subjects, proposed Shakespeares tragedy. The idea of "Romeo" as a ballet finally took shape by May 1935.
The second godfather of this performance was Sergey Radlov. Co–author of the script, he proposed radical alterations of Shakespeare, the most fantastic of them is a happy ending.

The ballet "Romeo and Juliet" might not have been. In 1934 Prokofiev discussed the possibility of staging "The Gambler" and "The Fiery Angel" in Leningrad. Then Adrian Piotrovsky (director of Lenfilm and consultant to GATOBA) put forward the idea of a new opera and, among other subjects, proposed Shakespeares tragedy. The idea of "Romeo" as a ballet finally took shape by May 1935.
The second godfather of this performance was Sergey Radlov. Co–author of the script, he proposed radical alterations of Shakespeare, the most fantastic of them is a happy ending.

The ballet "Romeo and Juliet" might not have been. In 1934 Prokofiev discussed the possibility of staging "The Gambler" and "The Fiery Angel" in Leningrad. Then Adrian Piotrovsky (director of Lenfilm and consultant to GATOBA) put forward the idea of a new opera and, among other subjects, proposed Shakespeares tragedy. The idea of "Romeo" as a ballet finally took shape by May 1935.
The second godfather of this performance was Sergey Radlov. Co–author of the script, he proposed radical alterations of Shakespeare, the most fantastic of them is a happy ending.

The ballet "Romeo and Juliet" might not have been. In 1934 Prokofiev discussed the possibility of staging "The Gambler" and "The Fiery Angel" in Leningrad. Then Adrian Piotrovsky (director of Lenfilm and consultant to GATOBA) put forward the idea of a new opera and, among other subjects, proposed Shakespeares tragedy. The idea of "Romeo" as a ballet finally took shape by May 1935.
The second godfather of this performance was Sergey Radlov. Co–author of the script, he proposed radical alterations of Shakespeare, the most fantastic of them is a happy ending.

The ballet "Romeo and Juliet" might not have been. In 1934 Prokofiev discussed the possibility of staging "The Gambler" and "The Fiery Angel" in Leningrad. Then Adrian Piotrovsky (director of Lenfilm and consultant to GATOBA) put forward the idea of a new opera and, among other subjects, proposed Shakespeares tragedy. The idea of "Romeo" as a ballet finally took shape by May 1935.
The second godfather of this performance was Sergey Radlov. Co–author of the script, he proposed radical alterations of Shakespeare, the most fantastic of them is a happy ending.

The ballet "Romeo and Juliet" might not have been. In 1934 Prokofiev discussed the possibility of staging "The Gambler" and "The Fiery Angel" in Leningrad. Then Adrian Piotrovsky (director of Lenfilm and consultant to GATOBA) put forward the idea of a new opera and, among other subjects, proposed Shakespeares tragedy. The idea of "Romeo" as a ballet finally took shape by May 1935.
The second godfather of this performance was Sergey Radlov. Co–author of the script, he proposed radical alterations of Shakespeare, the most fantastic of them is a happy ending.

The ballet "Romeo and Juliet" might not have been. In 1934 Prokofiev discussed the possibility of staging "The Gambler" and "The Fiery Angel" in Leningrad. Then Adrian Piotrovsky (director of Lenfilm and consultant to GATOBA) put forward the idea of a new opera and, among other subjects, proposed Shakespeares tragedy. The idea of "Romeo" as a ballet finally took shape by May 1935.
The second godfather of this performance was Sergey Radlov. Co–author of the script, he proposed radical alterations of Shakespeare, the most fantastic of them is a happy ending.

The ballet "Romeo and Juliet" might not have been. In 1934 Prokofiev discussed the possibility of staging "The Gambler" and "The Fiery Angel" in Leningrad. Then Adrian Piotrovsky (director of Lenfilm and consultant to GATOBA) put forward the idea of a new opera and, among other subjects, proposed Shakespeares tragedy. The idea of "Romeo" as a ballet finally took shape by May 1935.
The second godfather of this performance was Sergey Radlov. Co–author of the script, he proposed radical alterations of Shakespeare, the most fantastic of them is a happy ending.

The ballet "Romeo and Juliet" might not have been. In 1934 Prokofiev discussed the possibility of staging "The Gambler" and "The Fiery Angel" in Leningrad. Then Adrian Piotrovsky (director of Lenfilm and consultant to GATOBA) put forward the idea of a new opera and, among other subjects, proposed Shakespeares tragedy. The idea of "Romeo" as a ballet finally took shape by May 1935.
The second godfather of this performance was Sergey Radlov. Co–author of the script, he proposed radical alterations of Shakespeare, the most fantastic of them is a happy ending.

The ballet "Romeo and Juliet" might not have been. In 1934 Prokofiev discussed the possibility of staging "The Gambler" and "The Fiery Angel" in Leningrad. Then Adrian Piotrovsky (director of Lenfilm and consultant to GATOBA) put forward the idea of a new opera and, among other subjects, proposed Shakespeares tragedy. The idea of "Romeo" as a ballet finally took shape by May 1935.
The second godfather of this performance was Sergey Radlov. Co–author of the script, he proposed radical alterations of Shakespeare, the most fantastic of them is a happy ending.