It was Diaghilev who persuaded Falla of the opportunity involved in making a great ballet from the material of "El Corregidor y la Molinera", not being satisfied with that farce which, moreover, delighted the public of his time. However, it should be emphasised, that the pantomime involved a formula particularly favoured by Falla as it was based on a silent performance, both in terms of dialogue and incident. Today we can return to “El corregidor y la molinera” not as a mere attempt at “El sombrero de tres picos”, but, from our own perspective, as a more faithful testimony to Falla’s proverbial wish, still outside the spectacular dimension of Massine and Diaghilev. Falla, on his side later separated “Le Tricorne” from its scenic nature by transforming the score into two orchestral “suites”, which gave birth to “El sombrero de tres picos” as a symphonic creature, without transitions and with a much less relevant vocal contribution. These “suites” are in fact the most widely disseminated and best-known version of the work.