(Nijinska's brother) both had leading roles. They danced together in a scene Nijinska called "breathtaking". Rubinstein and Nijinsky also had partnered in the ballet Cléopâtre a year before in Paris for Ballets Russes. Rubinstein played the title role. The ballet was "the runaway success of the 1909 season that made her an overnight star". Following Bolero Rubinstein directed her company to prepare another ballet choreographed by Nijinska, with music by Ravel: his La valse. It opened in Monte Carlo in 1929, décor by Benois, featuring as dancers Rubinstein and Vilzak. The ballet was often revived, most famously in 1951 by Balanchine. A ballet of Le Baiser de la Fée [Kiss of the Fairy] originated when Ida Rubinstein asked Igor Stravinsky to compose music to be choreographed by Bronislava Nijinska. It would be staged in Paris in 1928. "The idea was that I should compose something inspired by the music of Tchaikovsky," wrote Stravinsky. For a theme he chose Hans Christian Andersen's 'eerie' tale of The Ice-Maiden, but he changed the story with his positive spin: "A fairy imprints her magic kiss on a [male] child at birth ... Twenty years later ... she repeats the fatal kiss and carries him off to live in supreme happiness with her..." Stravinsky understood the fairy to be Tchaikovsky's Muse whose kiss branded him with a 'magic imprint' to inspire his music. The composer Stravinsky conducted the orchestra for the ballet's first performance at the Opéra in Paris in 1928. The dancers included Rubinstein, Ludmila Schollar, and Vilzak. Le Baiser de la Fée played at other European capitals, and in 1933 and 1936/1937 at the Colón Theatre in Buenos Aires. In 1935 Ashton choreographed a new version that played in London, and in 1937 Balanchine did so for a version that played in New York. 'Opéra Russe à Paris': Capriccio Espagnol [Rimsky-Korsakov] This ballet company 'Opéra Russe à Paris' was founded in 1925 by a Russian singer and her husband, a nephew of French composer Massenet. A company director and major figure was Wassily de Basil (the former Vassily Voskresensky, a Russian entrepreneur, and perhaps once a Cossack officer). Since Sergei Diaghilev's death in 1929, followed by the collapse of his 'Ballets Russes', a discomforting void inhabited the world of European ballet. Nijinska in 1930 joined 'Opèra Russe à Paris' run by de Basil. She was "to choreograph the ballet sequences" in several well-known