of 1908, Diaghilev mounted a production of Mussorgsky's Boris Godunov, starring Feodor Chaliapin, at the Paris Opéra. Boris Anisfeld created the sets, designed by Bakst and Benois. To maximize authenticity, one of the artists Ivan Bilibin even travelled to Arkhangelsk Oblast to purchase the costumes. The tour became a sensation and the success was overwhelming, however, financially, it was unprofitable and ended with a loss of 85,000 francs. Ballets Russes By 1909, Diaghilev was at odds with Kschessinska, and the Russian state treasury refused to finance the future tours. Sergei turned for help to his other friend, Misia Sert. Due to her efforts, the company ended up being able to rent the Théâtre du Châtelet, which was less prestigious than the Palais Garnier. At that time, Diaghilev was rather skeptical about ballet; he said that ‘anyone with no special wit can enjoy it, there is no sense or subject in ballet’. Serge Lifar recalled that to the end of his days Diaghilev referred to the corps-de-ballet dancers as ‘a herd of cattle’. Nevertheless, in 1909 the very first ballet Saison Russe took place and its success overwhelmed even the artists themselves. The first season included Le Pavillon d'Armide, Polovtsian Dances, Nuit d’Egypte, Les Sylphides, and operas Boris Godunov, The Maid of Pskov and the first part of the Ruslan and Lyudmila. The ballets followed the operas and were performed after the second intermission. Leading dancers Vaslav Nijinsky, Anna Pavlova, Tamara Karsavina, Ida Rubinstein, Mikhail Mordkin immediately became world-known stars. Diaghilev’s innovation was to synthesize dance, music and visual arts with set decorations and costumes into a single performance. During these years, Diaghilev's stagings included several compositions by the late Nikolai Rimsky-Korsakov, such as the operas The Maid of Pskov, May Night, and The Golden Cockerel. His balletic adaptation of the orchestral suite Sheherazade, staged in 1910, drew the ire of the composer's widow, Nadezhda Rimskaya-Korsakova, who protested in open letters to Diaghilev published in the periodical Rech. Diaghilev commissioned ballet music from composers such as Nikolai Tcherepnin (Narcisse et Echo, 1911), Claude Debussy (Jeux, 1913), Maurice Ravel (Daphnis et Chloé, 1912), Erik Satie (Parade, 1917), Manuel de Falla (El Sombrero de Tres Picos, 1917), Richard Strauss (Josephslegende, 1914), Sergei Prokofiev (Ala and Lolli, 1915, rejected by Diaghilev and turned into the Scythian Suite; Chout, 1915 revised 1920; Le pas d'acier, 1926; and The Prodigal Son, 1929); Ottorino Respighi (La Boutique