Chant du Rossignol (English: Song of the Nightingale), as it was published in 1921, is a poème symphonique by Igor Stravinsky adapted in 1917 from his 1914 opera The Nightingale.

Stravinsky's first opera, The Nightingale was based on Hans Christian Andersen's 1843 fairy tale of the same name and was set to a Russian-language libretto in three acts told from the point of view of a fisherman. The poème symphonique derives its material mostly from the latter two acts, which were completed in 1914 after Stravinsky had established himself as a ballet composer and five years after he had completed the first act. He was in fact unsure about returning to The Nightingale at all, and this doubt may have led him to create the purely instrumental poème symphonique; in his autobiography he writes:

I reached the conclusion — very regretfully, since I was the author of many works for the theatre — that a perfect rendering can be achieved only in the concert hall, because the stage presents a combination of several elements upon which the music has often to depend, so that it cannot rely upon the exclusive consideration which it receives at a concert. I was confirmed in this view when two months later, under the direction of ... [Ernest] Ansermet, Le Chant du Rossignol was given as a ballet by Diaghilev at the Paris Opera.

The work had its first performance on December 6, 1919, in Geneva, conducted by Ernest Ansermet at the Orchestre de la Suisse Romande. It was met with criticism, much like that of The Rite of Spring. Stravinsky's nontraditional use of dissonance and instruments was unwelcome in later performances of the piece as well. It is possibly due to this public reaction that he then let Diaghilev turn it into a ballet.

The Chant is divided into four movements of varying length, which follow a non-linear, episodic structure. The music is taken from acts II and III. The movement list is as follows:

The piece's ballet debut occurred on February 2, 1920, at the Théâtre National de l'Opéra in Paris. The choreography was by Leonid Massine and designs by Henri Matisse. This also was met with some skepticism; Stravinsky himself was not entirely pleased. "I had destined Le Chant du Rossignol for the concert platform, and a choreographic rendering seemed to me to be quite unnecessary," he says later in his autobiography.

Stravinsky agreed to do a revival of the ballet in 1925. Originally, the choreography was to be Massine's, but when that fell through, Diaghilev chose one of his newest students, George Balanchine, to choreograph the ballet. This is when Stravinsky first met Balanchine, who later became his most important creative partner.

The Diaghilev and Stravinsky relationship weakened during Le chant du rossignol, as each liked to be the director in charge. As Balanchine was allowed more of a role, however, it was clear that the Balanchine-Stravinsky relationship was a lasting one. They had similar taste in art, music, and movement and lived to create. Stravinsky and Balanchine continued as a team for several years, creating a number of famous ballets.