The first performance of 'Mavra' and 'Renard' at the Paris Opera was on June 3, 1922. Alas! I was deeply disappointed by the disastrous surroundings in which my poor 'Mavra' and little 'Renard' found themselves. Being a part of a Ballet Russe program, my two intimate acts were dwarfed when sandwiched between spectacular pieces which formed the repertory of Diaghileff’s season and were the special attraction for the general public. This crushing environment, the enormous framework of the opera house, and also the mentality of the audience, composed mainly of the famous 'abonnés', all combined to make my two little pieces, especially 'Mavra', seem out of place. Though very conscientiously executed by the Polish conductor Fitelberg, alternating at that time with Ansermet in the repertory of the Ballet Russe, 'Mavra' was regarded as a disconcerting freak of mine, and a downright failure. Such was also the attitude of all the critics, notably those of the pre-war left. They condemned the whole thing then and there, attaching no importance to it, and regarding it as unworthy of closer examination. Only a few musicians of the younger generation appreciated 'Mavra', and realized that it marked a turning point in the evolution of my musical thought. / For my own part, I was glad to see that I had completely succeeded in realizing my musical ideas, and was therefore encouraged to develop them further – this time in the domain of symphony. << less