woman. However, Fokine found some points to compliment in the ballet, including the use of pauses by the dancers where traditionally there would have been continuous movement, as well as the juxtaposition of angular choreography with the very fluid music. Fokine's animosity to Faun is partly explainable by his own difficulties in preparing Daphnis and Chloe, which was to premiere the week following Faun but was not complete. Diaghilev tried to cancel Daphnis; instead it was postponed to 8 June. Daphnis only received two performances even though it was considered a success by critics such as Le Figaro. The company was sharply divided into two factions by the quarrel, some supporting Nijinsky and some Fokine. The final result consisted of Fokine leaving the company on bad terms with Nijinsky regardless of the fact that the partnership between Nijinsky as dancer and Fokine as choreographer had been enormously successful for them both. Further performances by the Ballets Russes The Ballets Russes chose not to show Faun in the London season immediately following its Paris appearance. Instead, the company premiered L'Oiseau de feu, Narcisse, and Thamar for the first time in London. In the autumn, a German tour began at the Stadt-Theater in Cologne on 30 October before moving to the New Royal opera House in Berlin on 11 December. The Berlin programme included Faun which was performed before the Kaiser, the King of Portugal, and sundry dignitaries. Diaghilev reported to Astruc that this showing was a "huge success" which resulted in ten encores without protest. Serge Gregoriev, who had just resigned from the Mariinsky Theatre to join Diaghilev full-time as stage manager, was more sanguine, reporting that "faun fell flat," but he confirmed the overall success of the German tour. In spring 1913, the ballet was performed in Vienna, where it again had a cool reception, though not so bad as Petrushka, which the orchestra of the Vienna Opera House initially refused to play because they disliked the music. The company returned to London, where the response was completely different and both ballets were well-received. During its first performance, there was some hissing in the audience, but the majority favoured it, and it received an encore once again. The Times described Nijinsky's performance as "extraordinarily expressive," and complimented the ballet on its ability to appeal to the audience in a way the public had never seen a ballet do before. Writing