Editors Foner & Garafola fearlessly navigate the sacred and jealously guarded minefield of dance history resulting in text and images arranged as a work of art in itself.

The paper is lovely and the photographs, well, I've seen them a hundred times before. It's a lovely coffee table book, anyone can look cultured if they have this is on display.

I agree with other reviewers who think that a/it's enough about Diaghilev, and, b/the articles are almost too esoteric for words, and c/ Diaghilev would, indeed, not like all this intrusive, not to say, mis-conceived, in-depth analysis, of his world.

I also have the feeling that the writers involved couldn't even pronounce Diaghilev's name correctly. Not to mention the profusion of errors of both facts and judgements with which this book is littered.

Better luck next time, and remember, you can't fool all of the people all of the time!

Many years ago Dame Ninette de Valois said to Richard Buckle that she thought everything that had been said about Diaghilev had already been said and how right she was.

If ever a lemon was squeezed dry it was Diaghilev's.

Please, everybody, enough is enough about Diaghilev.

Thank you to Dr. Garafola and Nancy Baer for their long-awaited, wonderful and beautifully illustrated book on the Ballets Russes. It is an extraordinary contribution to the fields of dance and art history. It will be well-appreciated in classrooms and libraries across America. It is also a useful text as it can be appreciated both by the aficionado of ballet history, as well as by the novice, trying to learn through scene design and costume shapes the myriad interpretations of the twenty-year life of Diaghilev's Russian ballet company. Any return to the modernist era is of use to students of history and performing artists of any generation.