Quickly the programme was rearranged. Fokine suggested adding a Chopin group, which he called _Poland--Three Moods: Happiness, Revolt, Sadness_. We went into action. The orchestra seat prices were five dollars, and a five-dollar top was high in those days. Announcements were rushed out, informing the public in big type that Vera Fokina, _Prima Ballerina Russian Ballet_, would appear, together with the adjusted programme, which we agreed upon as follows: Arnold Volpe and his Symphony Orchestra would play Weber’s _Oberon_ Overture; Saint-Saens’ Symphonic Poem, _Rouet d’Omphale_; Beethoven’s _Egmont Overture_; Rimsky-Korsakoff’s _Capriccio Espagnol_; Ippolitoff-Ivanoff’s _Caucasian Sketches_; and the _Wedding Procession_ from Rimsky-Korsakoff’s _Le Coq d’Or_. Fokina had an evening cut out for her: the three Polish moods I have mentioned; _The Dying Swan_; _The “Moonlight” Sonata_; the _Danses Tziganes_, by Nachez; _Sapeteado_, a Gitano Dance, by Hartmann; two _Caucasian Dances_, to folk music arranged by Asafief; and four of Liadov’s _Russian Folk Dances_. A large sign to the same effect was installed in the lobby of the Metropolitan Opera House. The news spread quickly. But the public did not seem to mind. In this eleventh-hour shifting of arrangements, I was happy to have the whole-hearted cooperation of John Brown and Edward Ziegler, the administrative heads of the Metropolitan Opera Company. The first performance was sold out; the audience was enthusiastic. Moreover, while in those days there were no dance critics, the press comment, largely a matter of straight reporting, was highly favorable. I should like to quote _The New York Times_ account in full as an example of the sort of attention given then to such an important event, some thirty-odd years ago: _“FOKINA’S ART DELIGHTS METROPOLITAN AUDIENCE--Her Husband and Partner Ill, Russian Dancers Interest Throng Alone, with Volpe’s Aid: Vera Fokina, the noted Russian dancer performed an unusual feat on February 11, when she kept a great audience in the Metropolitan keenly interested in her art for almost three hours. When it was announced that Mr. Fokine, her husband, was ill and therefore not able to carry out his part of the program, a murmur of dissatisfaction was audible. But the auditors soon forgot their disappointment and wondered at Mme. Fokina’s graceful and vivid interpretations_. “_Among the best liked of her offerings was the ‘Dying Swan,’ with Saint-Saens’s music. Beethoven’s ‘Moonlight’ Sonata, well played by an invisible pianist, Izia Seligman, and the Russian and Gipsy pieces. She was compelled to give many encores._ “_Arnold Volpe and his orchestra took a vital part in the program, playing the music with a fine instinct for the interpretative ideas of the dancer. He conducted his forces through some of the compositions intended as the vehicles for the absent Mr. Fokine, and thus won an honest share in the success of the entertainment._”