Originally, Diaghilev approached the Russian composer Anatoly Lyadov, but later hired Stravinsky to compose the music.

Russian choreographer Sergei Diaghilev persuaded Cocteau to write a scenario for a ballet, which resulted in Parade, in 1917.

In 1913 — the year of Edmund Husserl's Ideas, Niels Bohr's quantized atom, Ezra Pound's founding of imagism, the Armory Show in New York, and, in Saint Petersburg, the " first futurist opera ," Victory Over the Sun — another Russian composer Igor Stravinsky, working in Paris for Sergei Diaghilev and the Ballets Russes, composed The Rite of Spring for a ballet, choreographed by Vaslav Nijinsky, that depicted human sacrifice.

* 1872 – Sergei Diaghilev, Russian ballet impresario, founder of the Ballets Russes ( d. 1929 )

Sergei Pavlovich Diaghilev (;, Sergei Pavlovich Dyagilev, ; 19 August 1929 ), usually referred to outside of Russia as Serge, was a Russian art critic, patron, ballet impresario and founder of the Ballets Russes, from which many famous dancers and choreographers would arise.

Although not instantly received into the group, Diaghilev was aided by Benois in developing his knowledge of Russian and Western art.

After the Russian Revolution of 1917, Diaghilev stayed abroad.

* August 19 – Sergei Diaghilev, Russian ballet impresario ( b. 1872 )

In February 1909, two orchestral works, the and ( Fireworks ) were performed at a concert in Saint Petersburg, where they were heard by Sergei Diaghilev, who was at that time involved in planning to present Russian opera and ballet in Paris.

It was reintroduced to western Europe on the eve of the First World War by a Russian company: the Ballets Russes of Sergei Diaghilev, who came to be influential around the world.

* French / Russian — Productions of the Ballets Russes, under the direction of Sergei Diaghilev:

A turning point for Nijinsky was his meeting Sergei Diaghilev, a celebrated and highly innovative producer of ballet and opera as well as art exhibitions, who concentrated on promoting Russian visual and musical art abroad, particularly in Paris.

In 1909 Diaghilev took a company of Russian opera and ballet stars to Paris featuring Nijinsky and Anna Pavlova.

She is widely regarded as one of the finest classical ballet dancers in history and was most noted as a principal artist of the Imperial Russian Ballet and the Ballets Russes of Sergei Diaghilev.

Having helped put her husband's principality on a sound financial footing, she would devote her energies to making Monaco one of Europe's great cultural centers with its opera, theater, and the ballet under the direction of the famed Russian impresario, Serge Diaghilev.

Among those in attendance were Russian impresario Serge Diaghilev, Pablo Picasso, filmmaker René Clair, singer Jane Bathori, and Maurice Chevalier.

Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences.

The impresario Sergei Diaghilev, another Russian exile, asked Balanchine to join his newly formed Ballets Russes as a choreographer.

In 1913, Chaliapin was introduced to London and Paris by the brilliant entrepreneur Sergei Diaghilev, at which point he began giving well-received solo recitals in which he sang traditional Russian folk songs as well as more serious fare.

Actually, if Broun indeed caught her in flagrante, it was not in the lap of " her Russian director ," Diaghilev, but the company's Italian business manager, Randolfo Barrocchi, whom she soon married.

Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences.

Alexandre Benois wrote in 1910 that he had two years earlier suggested to Diaghilev the production of a Russian nationalist ballet, an idea all the more attractive given both the newly awakened French passion for Russian dance and also the ruinously expensive costs of staging opera.

The Ballets Russes was a ballet company founded in the 1909 by Sergey Diaghilev, an enormously important figure in the Russian ballet scene.

Stravinsky was a young, virtually unknown composer when Diaghilev recruited him to create works for the Ballets Russes.

Although his first reaction to the music was to tell Diaghilev, " I will never conduct music like that ", he worked with Stravinsky, giving practical advice to help the composer to achieve the orchestral balance and effects he sought.

The importance of rehearsal to Monteux was shown earlier when Diaghilev asked him to conduct Stravinsky's new Les Noces with no rehearsal, as the composer would already have conducted the first performance, Monteux following on from there.

( Also in the audience was Sergei Diaghilev, who on the strength of this music sought out the young composer for the Ballets Russes.

In 1909 Sergei Diaghilev commissioned Lyadov to orchestrate a number for the Chopin-based ballet Les Sylphides, and on 4 September that year wrote to the composer asking for a new ballet score for the 1910 season of his Ballets Russes ; however, despite the much-repeated story that Lyadov was slow to start composing the work which eventually became The Firebird ( famously fulfilled by the then relatively inexperienced Igor Stravinsky ), there is no evidence that Lyadov ever accepted the commission.

Stravinsky was a young, virtually unknown composer when Diaghilev recruited him to create works for the Ballets Russes.

When Fokine's ballet premiered in Paris as part of Diaghilev's " Saison Russe " in 1909, Diaghilev commissioned re-orchestrations of all the dances, except for the Glazunov-orchestrated Waltz, by Anatoly Lyadov, Sergei Taneyev, Nikolai Tcherepnin and Igor Stravinsky.

In 1910, Carnaval was choreographed for a ballet for a production by Sergei Diaghilev, with orchestrations by Alexander Glazunov, Nikolai Rimsky-Korsakov, Anatoly Lyadov and Alexander Tcherepnin.

He was also given the opportunity by Serge Diaghilev to write music to The Firebird after Lyadov had failed to do so.

Prokofiev's first major success breaking out of the composer-pianist mould was with his purely orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes ; Diaghilev commissioned three further ballets from Prokofiev – Chout, Le pas d ' acier and The Prodigal Son – which at the time of their original production were all highly successful.

During 1928 – 29 Prokofiev composed what was to be the last ballet for Diaghilev, The Prodigal Son, which was staged on 21 May 1929 in Paris with Serge Lifar in the title role.

In 1900 – 1901 Volkonsky entrusted Diaghilev with the staging of Léo Delibes ' ballet Sylvia, a favorite of Benois.

* May 18 – Sergei Diaghilev, James Joyce, Pablo Picasso, Marcel Proust and Igor Stravinsky dine together in Paris, at the Majestic hotel, their only joint meeting.

This ensured that the Diaghilev – Stravinsky collaboration would continue, in the first instance with Petrushka ( 1911 ) and then The Rite of Spring.

* Sergei Diaghilev – impressario

Tamara Platonovna Karsavina ( 10 March 1885 – 26 May 1978 ) was a famous Russian ballerina, renowned for her beauty, who was most noted as a Principal Artist of the Imperial Russian Ballet and later the Ballets Russes of Serge Diaghilev.

In her other well-known photographic series from the 1970s and 1980s such as The King of Solana Beach ( 1972 – 75 ), The Angel of Mercy ( 1976 – 78 ), and Recollections of My Life with Diaghilev ( 1974 – 89 ), Antin inhabits various fictional personas to comment on how history is often retold, reinterpreted and redefined as a result of new discoveries, subjective perceptions and memory.

In Recollections of My Life with Diaghilev, 1919 – 1929 by Eleanora Antinova ( 1981 ), Antin once again adopts a fictional persona whose identity is equally informed by historical fact and her imagination.