Editing Sergei Prokofiev (section)

=== Life abroad ===
Arriving in [[San Francisco]] after having been released from questioning by immigration officials on [[Angel Island (California)|Angel Island]] on 11 August 1918,<ref>{{harvnb|Prokofiev|2008|p=321}}</ref> Prokofiev was soon compared to other famous Russian exiles, such as [[Sergei Rachmaninoff]]. His debut solo concert in New York led to several further engagements. He also received a contract from the music director of the [[Chicago Opera Association]], [[Cleofonte Campanini]], for the production of his new opera ''The Love for Three Oranges'',<ref>{{harvnb|Prokofiev|2008|p=364}}</ref> but due to Campanini's illness and death, the premiere was postponed.<ref>{{harvnb|Prokofiev|1991|p=266}}</ref> The delay was another example of Prokofiev's bad luck in operatic matters. The failure also cost him his American solo career since the opera took too much time and effort. He soon found himself in financial difficulties, and in April 1920, he left for [[Paris]], not wanting to return to Russia as a failure.<ref>{{harvnb|Prokofiev|1991|pp=267–68}}</ref>

In Paris, Prokofiev reaffirmed his contacts with Diaghilev's [[Ballets Russes]].<ref>{{harvnb|Prokofiev|1991|p=268}}</ref> He also completed some of his older, unfinished works, such as his [[Piano Concerto No. 3 (Prokofiev)|Third Piano Concerto]].<ref>{{harvnb|Prokofiev|1991|pp=270–71}}</ref> ''The Love for Three Oranges'' finally premièred in Chicago, under the composer's baton, on 30 December 1921.<ref>{{harvnb|Prokofiev|2008|p=654}}</ref> Diaghilev became sufficiently interested in the opera to request Prokofiev play the [[Piano-vocal score|vocal score]] to him in June 1922, while they were both in Paris for a revival of ''Chout'', so he could consider it for a possible production.<ref name=prok1991273/> Stravinsky, who was present at the audition, refused to listen to more than the first act.<ref name=prok1991273>{{harvnb|Prokofiev|1991|p=273}}</ref> When he then accused Prokofiev of "wasting time composing operas", Prokofiev retorted that Stravinsky "was in no position to lay down a general artistic direction, since he is himself not immune to error".<ref name=prok2008680>{{harvnb|Prokofiev|2008|p=680}}</ref> According to Prokofiev, Stravinsky "became incandescent with rage" and "we almost came to blows and were separated only with difficulty".<ref name=prok2008680/> As a result, "our relations became strained and for several years Stravinsky's attitude toward me was critical."<ref name=prok1991273/>

In March 1922, Prokofiev moved with his mother to the town of [[Ettal]] in the [[Bavaria]]n Alps, where for over a year he concentrated on an opera project, ''[[The Fiery Angel (opera)|The Fiery Angel]]'', based on [[The Fiery Angel (novel)|the novel]] by [[Valery Bryusov]]. His later music had acquired a following in Russia, and he received invitations to return there, but decided to stay in Europe. In 1923, Prokofiev married the Spanish singer [[Lina Prokofiev|Carolina Codina]] (1897–1989, stage name Lina Llubera)<ref>{{harvnb|Prokofiev|2008|p=428}}</ref> before moving back to Paris.<ref>{{harvnb|Nice|2003|pp=196–97}}</ref>

In Paris, several of his works, including the [[Symphony No. 2 (Prokofiev)|Second Symphony]], were performed, but their reception was lukewarm and Prokofiev sensed that he "was evidently no longer a sensation".<ref>{{harvnb|Prokofiev|1991|p=277}}</ref> Still, the Symphony appeared to prompt Diaghilev to commission ''[[Le pas d'acier (Prokofiev)|Le pas d'acier]]'' (''The Steel Step''), a "modernist" ballet score intended to portray the industrialisation of the Soviet Union. It was enthusiastically received by Parisian audiences and critics.<ref>{{harvnb|Nice|2003|p=245}}</ref>

Around 1924, Prokofiev was introduced to [[Christian Science]].<ref>{{harvnb|Prokofiev|2012|p=65}}</ref> He began to practice its teachings, which he believed to be beneficial to his health and to his fiery temperament<ref>{{harvnb|Prokofiev|2012|p=635, p. 647}}</ref> and to which he remained faithful for the rest of his life, according to biographer [[Simon Morrison]].<ref>{{cite web|url=http://www.sprkfv.net/journal/three10/dnevnik2.html|author=[[Simon Morrison]]|title=Dnevnik 1907–1933 (review, part 2)|trans-title=Diary|publisher=Serge Prokofiev Foundation|access-date=27 August 2019}}; originally {{cite journal|journal=[[Journal of the American Musicological Society]]|volume=58|number=1|date=Spring 2005|title=Dnevnik 1907–1933|pages=233–243}}</ref>

Prokofiev and Stravinsky restored their friendship, though Prokofiev particularly disliked Stravinsky's "stylization of [[Johann Sebastian Bach|Bach]]" in such recent works as the [[Octet (Stravinsky)|Octet]] and the [[Concerto for Piano and Wind Instruments (Stravinsky)|Concerto for Piano and Wind Instruments]].<ref>{{harvnb|Nice|2003|p=200}}</ref>{{#tag:ref|It has been suggested that Prokofiev's use of text from Stravinsky's ''[[Symphony of Psalms]]'' to characterise the invading Teutonic knights in the film score for [[Sergei Eisenstein|Eisenstein's]] ''[[Alexander Nevsky (Prokofiev)|Alexander Nevsky]]'' (1938) was intended as a dig at Stravinsky's "pseudo-Bachism".<ref>Kerr, M. G. (1994) "Prokofiev and His Cymbals", ''[[The Musical Times]]'' '''135''', 608–09. Text also available at {{cite web |url=http://www.b5-dark-mirror.demon.co.uk/nevsky.html |title=Alexander Nevsky and the Symphony of Psalms |access-date=18 September 2008 |url-status=dead |archive-url=https://web.archive.org/web/20090109030017/http://www.b5-dark-mirror.demon.co.uk/nevsky.html |archive-date=9 January 2009}}</ref>|group= n}} For his part, Stravinsky described Prokofiev as the greatest Russian composer of his day, after himself.<ref name="strav">{{cite news|url=https://www.theguardian.com/music/2006/jul/21/classicalmusicandopera|title=First among equals|work=[[The Guardian]]|location=London|author=[[Martin Kettle]]|access-date=29 May 2014|date=21 July 2006}}</ref>