it necessary to reiterate the following remark in lyrical passages, those actors who are on the stage, but not singing at the moment, must refrain from drawing the attention of the spectators to themselves by unnecessary by-play. An opera is first and foremost a musical work. The part of the Astrologer is written for a voice seldom met with, that of tenor altino. It may however be entrusted to a lyric tenor possessing a strong falsetto, for the part is written in the extremely high register. The Golden Cockerel demands a strong soprano or high mezzo-soprano voice. The dances performed by the Tsar and Tsaritsa in the second act, must be carried out so as not to interfere with the singers breathing by too sudden or too violent movement. Staging Practices Early stagings became influential by stressing the modernist elements inherent in the opera. Diaghilev's 1914 Paris production had the singers sitting offstage, while dancers provided the stage action. Though some in Russia disapproved of Diaghilev's interpretation, and Rimsky-Korsakov's widow threatened to sue, the production was considered a milestone. Stravinsky was to expand on this idea in the staging of his own Renard (1917) and Les Noces (1923), in which the singers are unseen, and mimes or dancers perform on stage. Derived works Rimsky-Korsakov made the following concert arrangement: Introduction and Wedding Procession from the opera The Golden Cockerel (1907) Введение и свадебное шествие из оперы «Золотой петушок» After his death, A. Glazunov and M. Shteynberg (Steinberg) compiled the following orchestral suite: Four Musical Pictures from the Opera The Golden Cockerel Четыре музыкальных картины из оперы «Золотой петушок» Tsar Dodon at home (Царь Додон у себя дома) Tsar Dodon on the march (Царь Додон в походе) Tsar Dodon with the Shemakhan Tsaritsa (Царь Додон у Шемаханской царицы) The wedding and the lamentable end of Dodon (Свадьба и печальный конец Додона) Efrem Zimbalist wrote Concert Phantasy on 'Le coq d'or for violin and piano based on themes from the suite. Inspiration for other works Marina Frolova-Walker points to The Golden Cockerel as the fore-runner of the anti-psychologistic and absurdist ideas which would culminate in such 20th century 'anti-operas' as Prokofiev's The Love for Three Oranges (1921) and Shostakovich's The Nose (1930). In this, his last opera, Rimsky-Korsakov had laid "the foundation for modernist opera in Russia and beyond." In 1978–79 the English composer Kaikhosru Shapurji Sorabji wrote "Il gallo d’oro" da