Ballets suédois in the early 1920s commissioned members of Les Six to compose music for its dance productions. Ballets Russes followed suit. Some 1920s music critics dismissed Les Six compositions as musiquette. But current critic Lynn Garafola sees in ballet revivals like Les Fâcheux that employ their music a "gaiety and freshness" in their "unpretentious tunes and depiction of everyday life". Garafola appreciates "the independence of the music in relation to the choreography." Ballets Russes dancer Lydia Lopokova, however, about Nijinska's ballet Les Fâcheux and similar works, commented that it was smooth and professional, but nothing or no one moved her. She longed for very old-fashioned ballets without abstract ideas, with simplicity and poetry. "Massine and Nijinska choreography clever as it is have too much intellect," she felt. La Nuit sur le Mont chauve [Night on Bald Mountain] (1924) The ballet premiered in April, 1924, in Monte Carlo, with principal dancers Lydia Sokolova and Michel Fedorov. Nijinska's choreography was set to the music of Modest Mussorgsky. Some designs for ballet then experimented "with costumes that 'reconstructed' the body, transforming its natural shape." For Night on Bald Mountain, Nijinska's sketches "show elongated, arc-like forms." The costumes designed by Alexandra Exter "played with shape" and "played with gender". Nijinska emphasized the ensemble rather than the individual dancer. Here it was "her inventive use of the corps de ballet as the central figure" rather than a soloist as was the norm. The total effect allowed the "movement of the dancers to blend ... they became a sculpted entity capable of expressing the whole ballet action." Exter also "depersonalized the dancers, clothing them in identical gray costumes." Yet it was "the architectural poses of Nijinska's choreography that gave the costumes their distinctive shape". For his 1867 'symphonic poem' La Nuit sur le Mont chauve Mussorgsky was inspired by the witches sabbath as told by Nikolai Gogol in his St. John's Eve story. The composer, however, repeatedly revised and eventually incorporated the music into Act III of his unfinished opera, Sorochintsy yarmarka [The Fair at Sorochintsy]. He labored on it for years prior to his death in 1881. Mussorgsky himself wrote the opera's libretto, based on a Gogol story of the same name. Its ballet scenes thus expressed the 'night on bald mountain'. The music was re-orchestrated by Rimsky-Korsakov. Le Train Bleu [The Blue Train] (1924) The ballet Le train blue has been called a