In the evening I played Ursignol to Dukelsky and to Balanchivadze*, at Diaghilev's request, as he was contemplating asking the latter to choreograph it. Dukelsky was completely absorbed in listening, and apart from occasionally uttering cries of euphoria did not say a word. At the end his comment was that he found the (lyrical) theme of the sailor exceptional in its freshness, and the second subject of the opening number also very good; for the rest it was good, strong material, but for him personally antipathetic.