The Rite of Spring of the evening Stravinsky had asserted that "Monteux, almost alone among conductors, never cheapened "Rite" or looked for his own glory in it, and he continued to play it all his life with the greatest fidelity". Commentators have often described "The Rite"s music in vivid terms; Paul Rosenfeld, in 1920, wrote of it "pound[ing] with the rhythm of engines, whirls and spirals like screws and fly-wheels, grinds and shrieks like laboring metal". In a more recent analysis, "The New York Times" critic Donal Henahan refers to "great crunching, snarling chords from the brass and thundering thumps from the timpani". The
Picasso and the Ballets Russes again until 1946, when he did the curtain design for Roland Petit's "Le Rendez-vous" at the Ballets des Champs-Élysées. Olivier Berggruen, ed. "Picasso: Between Cubism and Classicism, 1915–1925" (Skira, 2018). Picasso and the Ballets Russes Pablo Picasso and the Ballets Russes collaborated on several productions. Pablo Picasso's Cubist sets and costumes were used by Sergei Diaghilev in the Ballets Russes's "Parade" (1917, choreography: Léonide Massine), "Le Tricorne" ("The Three-Cornered Hat") (1919, choreography: Massine), "Pulcinella" (1920, choreographer: Massine), and "Cuadro Flamenco" (1921, choreography: Spanish folk dancers). Picasso also drew a sketch with pen on paper of "La Boutique fantasque" ("La course"),