Ballets Russes

the massine years, 1915 to 1921

1920

1920 opened with a setback in the form of a three-week strike by the orchestra of the Paris Opéra, but rehearsals went on. Work started on a new ballet based on the score of Stravinsky's opera Le Rossignol. When this was presented as Le Chant du Rossignol (which included Karsavina as the real nightingale, the mechanical nightingale by Idzikovsky and the Emperor by Grigoriev himself) it was exactly what Paris liked. Stravinsky and Massine (pictured below) commenced work on a new ballet Pulcinella (based on an original score by Pergolesi).

The season finished late (due to the strike) and Karsavina had to leave before the end. She was replaced by Nemchinova in La Boutique, by Sokolova in Le Tricorne and by Tchernicheva in Le Rossignol, all of whom were winning Diaghilev's approval.

From Paris, the company went to Rome, and here the seeds were sown for an eventual breakup between Diaghilev and Massine. They fell out initially over the treatment of an opera Le Astuzie Femminli at a time when Diaghilev was distressed about the death of his valet's wife. Massine, for once, did not yield to Diaghilev's persuasion and this marked the opening of a rift between them. From Rome they went to Milan where their reception was comparatively cool. It seems the Italian organisation had done little to prepare the ground for them.

The next destination was Monte Carlo, where they were greeted very warmly after six years absence. It reminded them of the early days of the Ballet with Nijinsky, but of all the original famous band of dancers, only Karsavina now remained. But the spirit remained the same, preserved by its traditions. In Diaghilev's words, "However much wine you may draw from a cask, when you refill it some of the old remains". Five new ballets were presented in sellout performances.

Left to right: Diaghilev, Igor Stravinsky, Manuel De Falla

Diaghilev granted Massine's wish, and bestowed the title Maître de Ballet which afterwards appeared on all programmes. The following visit to Paris commenced with anxiety over a railway strike, but somehow the company crammed onto the only train passing through Monte Carlo from Italy to Paris. This was the company's ninth season in Paris, where Russian ballet had become an institution and "Spring would not be spring without it".

Eager for new creations, it was Pulcinella, with its score by Stravinsky and choreography by Massine which provoked most expectation. Based on music by Pergolesi, Stravinsky's score was a lot more musical than usual. The Paris season was quite satisfactory, but Diaghilev was faced with the financial worries due to the rising cost of living after the war. He contrived to partly meet the requests of the company for a pay-rise.

Summer found the company back in London's Covent Garden, after a seven year absence. New productions were well received except for Le Chant du Rossignol which was not much liked and was only given twice. The company dispersed for their holidays, while Diaghilev returned to Venice to seek engagements for the autumn and winter. A mid-European tour was out of the question in postwar poverty, but a tour of the English provinces was suggested. Diaghilev was doubtful, and his doubts proved well-founded - the provincial tour was not a success and it was only a fortnight in Liverpool that saved it from financial disaster.

Diaghilev wanted a revival of Le Sacre du printemps but with Nijinsky gone, little of the original choreography could be remembered. Massine agreed to undertake the production of an entirely new version. Some consolation for the English tour was a season at the Théâtre des Champs Élysées in December. It was decided to stage the new production of Le Sacre du printemps where, seven years after the first demonstration, Diaghilev reckoned it would not now strike the public as revolutionary. Indeed, it was favourably received. Despite expert choreography, it lacked the pathos of Nijinsky's version which had better captured the spirit of the music.

It was at this time that Grigoriev noticed Diaghilev becoming irritable, and he had been quarreling with Massine. Diaghilev suggested to Grigoriev that "Massine might suddenly leave us". After the Paris season the company left for Rome "in an atmosphere of painful tension".

1921

The Ballets Russes opened in Rome on New Year's Day with Le Astuzie. It had been a year since Diaghilev had his first difference of opinion with Massine, and relations had worsened. Now, his contract had expired, and Diaghilev informed Grigoriev that it was not to be renewed, and instructed him to inform Massine. This was the second time Grigoriev had been called upon to perform an unpleasant duty of this kind. But to Nijinsky he only had to sign a telegram; now he had to tackle Massine face to face. Massine was quite unprepared but accepted that nothing would induce Diaghilev to change his mind.

Massine's departure ended the the third period in the history of Diaghilev's ballet and Diaghilev was obliged to find a new choreographer for the new ballets expected in the next Paris season. The young Slavinsky was appointed, under the guidance of Larionov, and he began to compose Chout (The Buffoon) to music by Prokofiev, a Russian composer of the new generation. After Rome followed a ten-day season which was marked by a number of débuts of various dancers in rôles formerly danced by Massine. Diaghilev seemed well satisfied with them all. From Lyon the company traveled to Spain at the special request of "The Godfather", King Alfonso. Diaghilev arrived in Madrid with a new personal secretary, Boris Kochno, to help Grigoriev with the administration. Lydia Lopokova was to rejoin the company and Prokofiev had finished the score to Chout.

The Spanish audiences were enchanted with the Spanish premières of La Boutique fantasque, Les Contes Russes and, above all, Le Tricorne, and were amazed at the mastery and execution of their own intricate Spanish steps. This season marked the last ever to appear in Spain. Work continued on Chout and it was completed in Monte Carlo. Diaghilev was less than happy with the choreography which "had the air of being by a student of dancing: we must find a choreographer".

Without new works to show, Diaghilev made the following Paris season short, showing Cuadro, Flamenco and Chout. The former created a furore - such dancing had never before been seen in Paris. Meanwhile, Massine had signed a contract in South America and poached some of the Russes dancers, much to the embarrassment of Diaghilev who was due to begin a season in London straight after leaving Paris.

Unwelcome at Covent Garden, the company began the London season in The Princes Theatre, which was unfortunately rather cramped for the company. The great "sensation" of the season was the return of Lopokova, who was received with "wild excitement". The season was satisfactory but, without a choreographer, the only alternative was to revive old works.

Intrigued by the possibility of an enormous run like a current show Chu Chin Chow, Diaghilev conceived a plan for a full length ballet that would "run for ever". His ideal solution was a revival of Petipa's La Belle au Bois Dormant (The Sleeping Princess). By good luck the Alhambra theatre was available and the contract was signed with the remark,"Well - what will be will be!".

Once signed, Diaghilev was faced with a great deal of work in a very short space of time He persuaded Bakst to make up after an earlier quarrel, and to design the scenery and costumes. He asked Stravinsky to re-orchestrate some of Tchaikovsky's score, and to include music from other compositions. For the choreography, Diaghilev engaged Nicolas Sergeev (Maryinsky Theatre) who was thoroughly familiar with the Petipa ballets.

For ballerinas, Olga Spesivtseva, Vera Trefilova (above right) (see Ballets Russes Gallery) and Liubov Egorova (left), who had emigrated to Paris, were hired. For men, Vladimirov and a newcomer, Anatol Vilzak, were available. To many of the dancers, Petipa's classical simplicity seemed too easy after the intricate movements of Fokine and Massine. Diaghilev was of another opinion. He held that this, if any, ballet required thorough rehearsal, for the very reason it was so simple, and he took over much of the direction himself.

On 2 November 1921 The Sleeping Princess was revived in London. To watch a full-length ballet was a new experience for Londoners (they were used to triple bills), but this one produced an unforgettable impression. From the opening night onwards it was performed daily, the title role being taken by various ballerinas in turn and in December it was seen by King George and Queen Mary.

Main picture: Léonide Massine