Duenia is probably one of Prokofiev’s brightest and most joyful works: the whole opera breathes the freshness and youthfulness of spring and is devoid of any inner contradiction whatsoever. All its components form a perfect whole, and the work is bubbling with humour and laughter – expansive, good-natured, mischievous laughter. Listening to Duenia, one is reminded of Verdi’s Falstaff, which exhibits the same emotional immediacy, enriched by the wisdom of a great master. / The orchestral score for the opera abounds in colours and agile virtuosity. It provides an excellent commentary to the action, adding to the comicality of the situation and deepening the characterisation. Also very interesting are the vocal parts, which are expressive and to the point. / The whole opera is written in one breath, and this makes it very difficult to single out individual points of excellence. I was particularly impressed, however, by the marvellous finale of the first scene, the quartet, the serenade, the music-making scene, the market-women’s chorus, the monk’s chorus, and the opera’s splendid, gay finale, with goblets clinking.