In a little study of the orientalist trope denoting sensuality (nega ) in nineteenth-century Russian opera, ‘“Entoiling the Falconet”: Russian Musical Orientalism in Context’ (this journal, 4 [1992], 253–80), I closed by observing that Chaikovsky, one among major Russian composers of his time, seemed immune to the lure of the East, and that his only orientalising numbers were two late and insignificant items: the Arabian Dance in The Nutcracker and the Moorish physician Ibn-Hakia's aria in the one-act opera Iolanta, which shared a double bill with The Nutcracker on their joint premiére during the last year of the composer's life (18/30 December 1892).