Moving away from Tolstoy’s family ideal in Peace, with its basis on intimate sibling bonds, Prokofiev shifted the family to War, turning it into a national Russian family of Father Kutuzov, Mother Russia and their children – the Russian people. This article explores how Prokofiev reworked Tolstoy’s philosophy of love and human connection to make his opera acceptable for the Soviet stage. Prokofiev’s early decision to split his opera into Peace and War, making the first a romantic love story of individuals and the second a collective story of the people’s love for Mother Russia, marked a major divergence from Tolstoy.

Identifier warpeace0000cons Identifier-ark ark:/13960/s29fxfjrmkg Invoice 1652 Ocr tesseract 5.1.0-1-ge935 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.9904 Ocr_module_version 0.0.16 Ocr_parameters -l eng Old_pallet IA-NS-0001055 Origin-contact Origin-note Physical items are owned or controlled by and digitized by Internet Archive Origin-organization Internet Archive Page_number_confidence 98.72 Pages 1330 Pdf_module_version 0.0.18 Ppi 360 Rcs_key 24143 Republisher_date 20220713162556 Republisher_operator Republisher_time 483 Scandate 20220707104619 Scanner Scanningcenter cebu Tts_version 5.When Sergei Prokofiev chose to adapt War and Peace for the Soviet opera stage in the 1940s, he faced both operatic conventions and Soviet ideological demands that ran counter to the philosophy and structure of Tolstoy’s sprawling masterpiece.

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