I have now come to the spring season of 1913 in Paris, when the Russian Ballet inaugurated the opening of the Téatre des Champs-Elysées. It began with a revival of 'L’Oiseau de Feu', and the 'Sacre du Printemps' was given on May 28 at the evening performance. The complexity of my score had demanded a great number of rehearsals, which Monteux had conducted with his usual skill and attention. As for the actual performance, I am not in a position to judge, as I left the auditorium at the first bars of the prelude, which had at once evoked derisive laughter. I was disgusted.