Fokine came with me to see the Metropolitan stage. He arrived at what might have been a ticklish moment. Fokine was extremely sensitive to what he called “pirated” versions of his works. There was, of course, no copyright protection for them, since choreography had no protection under American copyright law. Fokine was equally certain that he, Fokine, was the only person who could possibly reproduce his works. As we entered the Metropolitan, Adolph Bolm was appearing in an opera-ballet version of Rimsky-Korsakoff’s _Le Coq d’Or_. The performance had commenced. As I have intimated, after he broke with Diaghileff, Fokine was so depressed that for some time he could not work at all. Then he received an invitation from Anna Pavlova to come to Berlin, where she was about to produce some new ballets. Fokine accepted the invitation, and when Pavlova asked him to suggest a subject, Fokine proposed a ballet based on the opera, _Le Coq d’Or_. Pavlova, however, considered the plot of the Rimsky-Korsakoff work to be too political, and also felt it unwise of her to offer a subject burlesquing the Tsar. It was not until after Fokine temporarily returned to the Diaghileff fold that _Le Coq d’Or_ achieved production. Diaghileff agreed with Fokine on the subject, and Fokine was anxious that it should be mounted in as modern a manner as possible. The story of the opera, based on Pushkin’s well-known poem, as adapted to the stage by V. Bielsky, requires no comment. Fokine’s opera-ballet production was, in its way, quite unique. There were two casts, which is to say, singers and dancers. While one character danced and acted, the words in the libretto were spoken or sung by the dancing character’s counterpart. As a result of the Metropolitan Opera Company’s wartime ban on anything German, in 1917, Pierre Monteux, the former Diaghileff conductor, was imported by the Metropolitan for the expanded French list. One of the results of Monteux’s influence on the Metropolitan repertoire was _Le Coq d’Or_. Adolph Bolm, by that time resident in New York, having remained here after the last Diaghileff American season, was engaged by Otto H. Kahn to stage the work in the style of the Diaghileff production. Bolm, who had his own ideas, nevertheless based his work on Fokine’s basic plan, and that of the Fokine-Diaghileff production. Bolm was meticulous, however, in insisting that credit be given to Fokine for the original idea, and it was always billed as “after Michel Fokine.” The Metropolitan production, as designed by the Hungarian artist, Willy Pogany, whose sets were among the best the Metropolitan ever has seen, resulted in one of the most attractive and exciting productions the Metropolitan has achieved. Aside from the production itself, the singing of the Spanish coloratura, Maria Barrientos, as the Queen, the conducting of Monteux, and the dancing of Bolm as King Dodon, set a new standard for the Metropolitan.