In the article devoted to the experimental “The Soldier’s Tale” (1918) by Igor Stravinsky and Charles Ferdinand Ramuz, the object of attention is the new Russian translation of the libretto, made by a poet Mickaēl Savchenko on the order of the Mos­cow Philharmonic—especially for a theatrical perfor­mance of the work “to be read, played, and danced” in “The Complete Stravinsky” concert cycle created and hosted by Yaroslav Timofeev. The modern text version of “The Soldier” is discussed against the background of M. Sav­chenko’s reflections on the general problems of translation and is compared with the previous Russian text by S. Petrov. His translation, published in 1974 in the Russian edition of the work (Leningrad, “Muzyka” Publishing House), is so far the only available version of the earlier precedents of turning to Ramuz’s French original. The article includes materials related to the extraordinary production of “The Soldier’s Tale” as a pantomime ballet at the Bolshoi Theatre of the USSR (1964). It reconstructs some details from the history of the creation of “The Soldier,” since its innovative genre synthesis was the result of a unique collaboration between the Russian composer and the Swiss writer, both of whom lived near Geneva Lake in the canton of Vaud during the First World War.