Diaghilev conquers Paris

One truly beautiful day I had a visit from Diaghilev, who asked me if I would come to Paris with him, where he was planning to organize a number of symphony concerts, in order to acquaint the French public with Russian music and its historical development.  I agreed to take part in them since I knew how interested Europe was in Russian works.  I was most enthusiastic about his idea.  This for me was a new adventure, and I looked forward to it very much.

When we reached Paris I took up residence in the same hotel as Diaghilev.  I soon understood that what we had embarked upon was work of the greatest importance, and everybody concerned was throwing heart and soul into the task.  I will say this, that there was more life humming round Diaghilev than in all the streets of Paris. He told me that there was such an enormous interest in the forthcoming concerts that even the Grand Opera House would not hold the thousands who were already clamouring for tickets.  He said that Rimsky-Korsakov, Rachmaninov, Scriabin, and many other composers would be taking part in the concerts, and that Rimsky-Korsakov, Blumenfeld, and Nikish were to conduct.

We began the first concert with the first act from Russlan and Ludmilla, and it was very well received.  I myself sang excerpts from Sadko, Prince Igor, and Boris Godunov, as well as a number of ballads with pianoforte accompaniment.  The French are erroneously considered to be frivolous, but they were very much drawn to us, liking particularly the Mussorgsky music, and spoke of this composer with great enthusiasm.  The concerts were so successful that it gave us the idea of bringing Russian opera to France the following season.  And this we did.

The mere announcement that Diaghilev was putting on Boris Godunov was sufficient news for the Parisians to acclaim it as a gala season.  I shall never forget what feeling, what electrifying energy, the chorus and orchestra of the Grand Opera put into their work.  It was simply wonderful.  We produced the work in full, something quite impossible in Russia owing to the censorship.  The work was most impressive, and in all my twenty-five years in the theatre I have never witnessed such a magnificent production.

Chaliapin: an autobiography as told to Maxim Gorky.  1967. Page 164.