On the eve of the first performance there were two dress rehearsals with orchestra, in the morning and the afternoon, to which I invited my friends. There were quite a few spectators, including a number of critics and, for some reason, a clutch of American conductors: Damrosch, Hertz, Smallens and later on Monteux. Most of the scenery, costumes and the action on stage passed me by, so concentrated was I on the orchestra. The costumes were attractive, clownish, but very uncomfortable for the dancers, and Larionov had to defend himself against their protests. I thought the rehearsal went pretty badly, but Diaghilev considered it better than the dress rehearsals of many other ballets he had produced. The orchestra was poor. French musicians are members of a union, and according to the rules of their union players have the right, in case of need, to substitute other players as deputies. They constantly exploit this concession, so that for exampe in the course of all the rehearsals I saw a whole succession of different leaders, who made a complete hash od the solo in the final dance.