This study analyses the reception of The Rite of Spring in the Spanish cultural networks. Although the ballet was only performed in 1913, three years before the first visit of Diaghilev’s Ballets Russes to Spain, its influence became notorious among some
Spanish choreographers, composers, painters and intellectuals. In 1916, during the first of the several tours with the company, Stravinsky played a piano transcription of the score in Madrid. Nevertheless, it was not until 1928 that the complete version was presented at the Liceu in Barcelona. And, the following year, the dance critic and composer Adolfo Salazar claimed for the performance of the entire ballet at the Spanish scene, considering it the most important work of the Ballets Russes. However, in 1930 Unión Radio boosted the diffusion of The Rite of Spring, offering the music through the radio and publishing several articles in its magazine Ondas. The idea was followed by a record made by the Columbia Graphophone Company located in San Sebastián. Finally, at the end of 1932, Enrique Fernández Arbós conducted La consagración de la primavera at the Calderón Theatre in Madrid. Despite the fact that almost twenty years had passed since its première, the score was still considered one of the most modern works performed in Spain. This paper will analyse the impact of The Rite of Spring in the Spanish dance, music and fine arts. Besides, it will study the contributions and exchanges between Stravinsky, the Ballets Russes’ troupe and the Spanish artists and intellectuals –Manuel de Falla, Cipriano Rivas Cherif, Margarita Nelken, Joaquín Fesser, etc. – up to 1933, the last visit of the composer before the outbreak of the Spanish Civil War.
