Georges Rouault and Serge Prokofiev.
Monte-Carlo, 1929.
 


I had intended spending three days in Monte-Carlo but Ptashka liked it a lot and Diaghilev kept us, so we stayed there a week. The weather was wonderful the whole time. As regards The Prodigal Son, they had been reduced to preparing the pianist for future rehearsals (tempi), but now have been rehearsing the Rieti ballet and Stravinsky's Renard (they chose Renard instead of Chout). The pianist was very busy and Kokhno hadn't bothered to give him my piano score so his banging away was quite appalling. At times, Diaghilev was very pleasant, at others it was impossible to get anything out of him. We were joined by Rouault (a rather primitive fellow but not as unpleasant as he seemed at first), Lifar, Kokhno and Pavka, Diaghilev's very nice uncle (l'aeul). They all got on very well with Ptashka and in the end were even kissing her hand (yes, the Diaghilev boys!). In the evening Diaghilev gave us a box for Prince Igor. The performance was boring: poor voices and from our box the orchestra wasn't heard to advantage. Diaghilev was there with Markevich and in excellent spirits. Obviously it's an escapade while Lifar is in Monte-Carlo. Markevich is about sixteen and looks like a little mouse. Ptashka gave Diaghilev a pile of photographs we took in Monte-Carlo. Seeing Ptashka and Lifar arm-in-arm, he handed her Pruna's snap with the words "Monsieur and Madame Lifar".
(Diary, 1929)
 




Lina Prokofiev and
Serge Lifar.
Monte-Carlo, 1929.




Serge Lifar.
Monte-Carlo, 1929.
 

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