The Rite of Spring is a key work for the history of recording and for the musicology of performance. Stravinsky regarded his recordings as establishing an authentic model of interpretation, but it is a well-known fact that he does not respect his own tempo indications and makes use of rubato to varying degrees. These uncertainties about tempi have created doubt and opened a space of freedom for conductors. This article aims to take a fresh look at how the interpretation of the Rite evolved, from the point of view of duration and tempo. Using a vast corpus of 96 discographic versions recorded between 1929 and 2019 has made it possible to obtain a clear representation of the evolution of the work’s interpretation over 90 years, to identify the margin of freedom in the choice of tempi, and to establish a cartography of the interpretive styles.