One often hears lamentations to the effect that Soviet opera is sufficiently vivid and diverse, that it to a certain extent lags behind other forms and genres of Soviet art. In many ways these lamentations are justified. But we do not always fully appreciate those achievements that have been made. Sergei Prokofiev, in my view, was most perspicacious in seeing new ways to develop Soviet opera. One of his best works is The Monastery Betrothal (The Duenna). It was a pleasure, therefore, to see the recent production of it at the Stanislavsky and Nemirovich- Danchecko Theatre. / The Monastery Betrothal is a lyrical comic opera, and a real masterpiece in this genre. It is full of sparkling wit, psychological observation, apt and precise musical characterisation, and beautiful, charming, flowing melodies. It is difficult to single out what is best in the work. The inspired, lyrical quartet from Act Two, the final chorus and the humorous choir of monks are superb; the ‘eavesdropping’ scene is very subtly worked out: as the fish merchant Mendosa zealously applies his eye to the keyhole, the orchestra elucidates what he sees and hears, playing the lyrical, tender theme of Louisa’s and Antonio’s love…/ The composer uses individual portrait-motifs for each character. He is no less resourceful in his libretto (written together with M. Mendelssohn Prokofieva, and based on Sheridan’s well-known play The Duenna). A comparison of the opera with Sheridan’s play shows how many amusing additions, witty details, and even whole new episodes were introduced by the composer.