Coppelia ballet composer. "Coppelia" L. Delibes (Bolshoi vs. Mariinsky Theater). The history of the ballet

Coppelia is one of the few ballets remaining from Western European choreography of the 19th century. More than a hundred years separate its premiere from today.

On May 25, 1870, the posters of the Grand Paris Opera announced that the pantomime ballet “Coppelia or the Beauty with Blue Eyes” in two acts and three scenes would be shown on its stage. The then fashionable choreographer Arthur Saint-Leon was the author of the performance's libretto. The musical score for the ballet was created by composer Leo Delibes.

These two names marked two opposing trends in the history of musical theater in France. The activities of Saint-Leon are associated with the decline of the former meaningfulness of choreographic culture. Delibes' work brought innovative trends to ballet music.

The rise of bourgeoisism during the years of the Second Empire left its mark on the artistic life of Paris. Frankly entertaining, spectacular performances of light genres came into fashion. The names of father and daughter Taglioni, Jules Perrault, and Fani Elsler still lived in the memory of the older generation of Parisians. In previous decades, they were the creators and performers of such masterpieces of romantic ballet as La Sylphide, Giselle, and Esmeralda. The Romantic era elevated ballet to a rank equal to other arts and proved that dance is capable of revealing areas of a person’s mental life that are beyond the reach of any other type of theater. The art of Saint-Leon was born from the ruins of the romantic style. Often he took what his great predecessors found, striving for the greatest effectiveness, varied it in his own way, composed brilliant dance compositions, complicating and modifying the dance technique in them. Saint-Leon masterfully mastered the traditional forms of the classics and masterfully applied them in practice. Polishing, honing the forms and language of classical dance, the choreographer prepared the ballet theater for its magnificent rise at the end of the 19th century, associated with Russian choreography, with the birth of such performances as “Swan Lake”, “The Nutcracker”, “The Sleeping Beauty” by P. Tchaikovsky. Their authors - composer P. Tchaikovsky, choreographers L. Ivanov and M. Petipa brought new content to the ballet and used and developed much of what Saint-Leon found in the field of expressive means of academic ballet.

Coppelia was Saint-Leon's last performance. He staged it in the year of his death, arriving in Paris after ten years of work in Russia (1859-1869).

The libretto of "Coppelia" is based on Hoffmann's short story "The Sandman". It also uses plot motifs from this writer’s story “Automata”. However, the authors of “Coppelia” took from the German romantic only the external outline of events and individual situations. They composed a scenario that was radically opposed to both the literary aesthetics of German romanticism and the lyrical-romantic ballet that was close to it. Hoffmann wrote a science fiction novel about people whose identities are stolen. Its main character was a young man who met a mysterious doll maker. The scriptwriters of “Coppelia” created an everyday lyrical comedy, in the center of which is the image of a real, mischievous girl who wants to teach her unfaithful lover a lesson.

The story of a young man who fell in love with the ideal he created was a traditional plot of lyrical-romantic ballets. The story of how a real girl replaces an unreal one and makes the groom believe in the truth of living human feelings is fundamentally the opposite of lyrical romanticism. But he was also known to the ballet theater earlier from Jules Perrot’s play “The Artist’s Dream”. The authors of "Coppelia" mixed the plot of "An Artist's Dream" with the "puppet" motifs of Hoffmann's stories and composed a clear, joyful performance.

The master of puppets Coppelius, for example, in the first version of the ballet libretto recalled his literary prototype only in the scene where he intoxicates Franz with a mysterious potion in order to breathe his soul into the doll Coppelia, and in the notes of the tragic collapse of his illusions, when the old man learns that Swanilda made fun of him. Over time, this too disappeared from the libretto of Coppélia. New stage versions of Coppelia began to be created soon after its birth. Over her long stage life, she moved ever closer to the genre of lyrical domestic comedy.

Probably, on different stages of the world, the emphasis within the script was so often rearranged, new editions of the stage action of “Coppelia” were created because Saint-Leon’s choreography itself was not sufficiently integral.

Today, the original choreography of the ballet is almost forgotten, but the ballet continues to live, acquiring new colors, new interpretations. The reason for this is the wonderful music of Leo Delibes.

Having composed the score of “Coppelia” according to the plan given to him by the choreographer, Delibes announced a new quality of ballet music, acting as a continuator of the reform begun by his senior colleague and teacher, the author of “Giselle” A. Adam. “He can be proud of the fact that he was the first to develop a dramatic principle in dance and at the same time surpassed all his rivals,” contemporaries wrote about Delibes. “Three or four French composers of the last century, with a particularly poetic feeling and exquisite skill, combined in their leisure time devoted to ballet musical theater... a keen understanding of the laws of combining plasticity and weight of sound with the laws of human dance. They managed to create undeniably convincing examples of musical and choreographic works of various genres, but mainly in the field of romantic legend and poeticized everyday comedy. I mean... Leo Delibes, a composer of the finest taste and poetic sense of man as a plastic phenomenon, the author of the unsurpassed ballets “Coppelia” (1870) and “Sylvia” (1876),” wrote academician B.V. Asafiev.

Having an excellent command of dance forms, the composer symphonized the ballet score and cemented its traditional dance forms into a single whole.

Delibes' music took ballet theater to a new path. She ceased to be a “handmaiden of choreography”, turning into an equal component of the performance. P. Tchaikovsky admired the author’s art. “What charm, what grace, what melodic, rhythmic, harmonic richness,” the great Russian composer wrote to Taneyev, studying Delibes’ scores while working on “Swan Lake.” As Asafiev notes, Delibes “was not characterized by the scope and power of imagination for broad concepts.” These qualities distinguish Tchaikovsky's scores. But we, like Coppelia’s contemporaries, are attracted by the theatricality of its music, the Slavic motifs of its genre scenes, the grace of classical dance forms, and the kind smile of the composer. Coppelia first appeared on the stage of the Bolshoi Theater in 1882 - two years earlier than in St. Petersburg. The performance was based on the choreography of Saint-Leon, and I. Hansen transferred the ballet to Moscow. The role of Swanilda at the premiere was performed by the famous Moscow ballerina L. Gaten. The part of Franz, as in the Paris performance, was danced by a woman – a “travesty”, a student of a theater school. Since then, at various intervals, “Coppelia” has constantly appeared on the Russian stage, maintaining its choreographic basis in different editions.

In 1901, the remarkable reformer of the Moscow ballet A. Gorsky approached her. They re-staged the dances and scenes of the play, and for the first time the role of the main character of the ballet, Franz, was assigned to a man. This part was performed by the famous dancer V. Tikhomirov.

Many famous Moscow ballerinas performed the role of Svanilda in Coppelia - E. Geltser, O. Lepeshinskaya, S. Golovkina, I. Tikhomirnova. The most interesting Franz was the wonderful Soviet dancer A. Messerer. Wonderful mimic actors from V. Geltser to A. Radunsky created the image of Master Coppelius in the performance.

We present to your attention the libretto of the ballet "Coppelia". Ballet "Coppelia" in three acts. Composer L. Delibes. Libretto by C. Newterra, A. Saint-Leon based on the fairy tale by E. Hoffmann. Staged by A. Saint-Leon.

Characters: Coppelius. Coppelia. Swanilda. Franz. Burgomaster. Swanilda's friends. Girls and boys, townspeople.

Square of a small town in Galicia. In one of the houses located in the depths of the square, a dormer window opens. It shows the head of a young girl. Looking around, she leaves the house and carefully heads towards the dwelling of old Coppelius. The girl looks at the large window, behind which a motionless figure is visible sitting with a book in her hands. This is probably the daughter of Coppelius. Every morning you can see her in the same place, then she disappears. The mysterious girl never appears on the street, no one has heard her voice. However, her beauty attracts many young men, and they often spend time under her window. Some even tried to break into the house, but the doors were tightly locked.

Swanilda (that’s the name of the girl who approached Coppelius’s house) suspects that her fiance Franz is not indifferent to the mysterious Coppelia. Maybe he even loves her? Swanilda looks at her rival with annoyance and pain, but the girl outside the window does not pay attention to her.

Franz enters the square. He first approaches Swanilda's house, then stops indecisively and, apparently changing his mind, goes to Coppelius's house. Swanilda, hiding, watches him. Franz bows to the girl in the window, she returns the bow. But just when Franz is ready to blow a kiss to the girl, Coppelius opens the window, watching what is happening on the street.

Trying to overcome her excitement, Swanilda carefreely jumps out of her ambush and runs after a flying butterfly. Seeing his bride, Franz joins her. Having caught the butterfly, he attaches it with a pin to the lapel of his jacket.

Swanilda is outraged by Franz's cruelty. She says she doesn't love him anymore. Franz tries in vain to justify himself, but Swanilda does not want to listen to him.

Soon a crowd of young girls and boys appears on the square. The burgomaster announces that tomorrow is a big holiday - the consecration of the bell. Everyone crowds around the Burgomaster. He approaches Swanilda and reminds her of her wedding to Franz. Doesn't she want the wedding to take place tomorrow? The young girl looks slyly at her groom and tells the Burgomaster that she will now tell a story about a straw that reveals people's secrets. Swanilda takes an ear from the sheaf and breaks it as a sign that everything is over between them. Franz leaves the holiday in disappointment.

The night is coming. The square is emptying. Silence. Coppelius comes out of his house. He locks the door and heads to a nearby tavern to drink a glass of good wine. A gang of young people surrounds him and asks him to go with them. The old man breaks free and leaves, cursing everything in the world. Swanilda says goodbye to her friends.

One of the girls notices something shiny on the ground. It turns out that this is the key. Coppelius must have lost it. The girls decide to break into the old man's mysterious house.

They persuade Swanilda to go with them. Swanilda hesitates, but curiosity and jealousy force her to agree. And now the key is in the lock, the door is open. There is no one on the square. The lonely figure of Franz appears. Rejected by Swanilda, he wants to try his luck with Coppelia. Maybe she’s waiting for him, maybe she’ll agree to run away from the old man who guards her so vigilantly? At the moment when Franz places his ladder on the balcony, Coppelius returns. Having discovered that he had lost the key, he decided to return home. What is this? Is someone breaking into his house? Franz manages to quickly escape.

Night. Coppelius's workshop. Mysterious light. There are many machine guns around: an old man with a long gray beard, a black man, a little Moor, a Chinese. Books, tools, weapons are everywhere. Swanilda and her friends carefully walk around the room. They lift the thick curtains and notice Coppelia sitting in the same place with a book in her hand. The girls bow to the stranger, who remains motionless and mute. Has she fallen asleep? But her eyes are open. Swanilda carefully takes Coppelia's hand and steps back - she touched the doll. The girls laugh loudly. So that's who Franz sent kisses to!

The naughty girls feel free, they have nothing to fear. They press the springs and the Coppelius automata begin to operate.

Swanilda has a plan to change into the doll's dress and hides behind the curtain.

Coppelius enters. Having expelled the uninvited guests, he goes to Coppelia and anxiously examines the doll. Luckily, she is safe! The old man sighs with relief. The noise is heard again. Another uninvited guest appears in the depths of the window. This is Franz, who nevertheless decided to enter Coppelius’s home. Franz heads to where Coppelia is sitting. Two tenacious hands grab him. Franz wants to run away, but Coppelius does not let him go. Franz confesses to the old man that he wanted to see the girl he is in love with. At these words, Coppelius changes his anger to mercy and invites Franz to drink with him. Franz tastes the wine and notices that it has a strange taste. Coppelius, meanwhile, hardly drinks. Franz wants to see Coppelia, but his legs give way, he falls and falls asleep.

Coppelius triumphs: he can finally fulfill what he planned. He opens a magic book and begins to look for cabalistic spells. Then the pedestal on which Coppelia sits rolls up closer to the sleeping Franz. Coppelius wants to transfer the strength and life of Franz to the doll, which he created at the cost of so much effort, experience and sleepless nights. Coppelia gets up and walks. One step, then another. She walks down the steps of the pedestal. Coppelius is beside himself with delight.

Finally, his creation will surpass everything that man can create. While he is completely absorbed in his joy, Coppelia gradually comes to life. Stealthily, she even makes a threatening gesture to him, then returns to her previous position. Her eyes turn to Coppelius. Yes! She looks at him. Coppelius wants to steal another spark of life from Franz to give to Coppelia.

The doll's gait is now much lighter and more lively than before. She begins to dance, first slowly, then so quickly that Coppelius can barely keep up with her. She even wants to drink wine from the Franz Cup.

Noticing a book thrown on the floor, she asks Coppelius about its contents. Stopping in front of the sleeping Franz, she examines him and, grabbing a sword, wants to pierce Franz. Coppelius does not know how to calm the unruly Coppelia. He puts a Spanish lace mantilla on her, and Coppelia dances a Spanish dance. Wearing a Scottish scarf, she dances a jig. Coppelius wants to grab the doll, but it deftly eludes him, jumping and throwing everything that comes to hand onto the floor. Finally, Coppelius manages to stop and seat the doll in its original place.

The old man is tired and wants to rest. He wakes up Franz and tries to send him away as quickly as possible. Franz wakes up, not quite understanding what happened to him. Swanilda comes out from behind the curtain, and they, as if by agreement, hastily run down the stairs.

Coppelius runs behind the curtain. The poor old man begins to realize that he has become the victim of a cruel joke. His doll is undressed and lying on the floor. So that's who Coppelia was! He falls, sobbing, among his automata, which move and seem to laugh at the grief of their owner.

Holiday. There is fun everywhere. Franz and Swanilda made peace. Franz no longer thinks about the mysterious girl he saw in Coppelius's window.

There is a movement in the crowd: old Coppelius heads to the square, despite the fact that they do not want to let him into the celebration. He came to seek justice - his home was destroyed, his machine guns were broken. Who will cover the losses? Swanilda, who has just received her dowry, offers it to Coppelius. But the Burgomaster rejects Swanilda's proposal. He himself will cover the expenses of old Coppelius. The burgomaster throws Coppelius a wallet with money and gives a sign for the beginning of the holiday.

The bell ringer announces the onset of morning. Aurora emerges, surrounded by wildflowers. The bell rings again. This is the hour of prayer. Aurora disappears. It is replaced by the hours of the day. The spinners and reapers begin their work. The bell rings again: wedding. Hymen appears, accompanied by little Cupid.

Dark, ominous sounds are heard. This is war. The weapon is raised, the flames of the fire illuminate the darkened sky. Finally everything calms down. The bell that just called to arms sounds joyfully in honor of peace. Peace is restored, and along with the hours of morning, afternoon, evening and night, people start dancing and playing.

Final divertissement.

general characteristics

Adeline Genet as Swanilda, 1900

The ballet is one of the select circle of classical ballets that are constantly present in the repertoire of ballet companies. At the same time, he occupies a special place in this elite circle. Its comic character, not burdened by excessive psychologism, a large number of pantomime mise-en-scenes, and diverse dances make it attractive for graduation and educational performances of choreographic schools, allowing them to show the capabilities of graduates, as well as as a premiere performance for young, newly created groups.

Ballet appeared at a time when the European art of ballet was experiencing crisis phenomena. The prevailing view in society was that ballet was an entertaining art, incapable of solving significant creative problems. The ballet “Coppelia” was the first step towards overcoming this situation and creating a symphonic ballet, a process that culminated in the creation of ballets by P. I. Tchaikovsky. The ballet, created by the outstanding French composer, a student of Adolphe Adam, continues the best traditions of romantic ballet. At the same time, in the plastic, harmonious music of this ballet, permeated with waltz rhythms, symphonic elements develop, descriptive moments and genre coloring acquire great importance, and the realistic-psychological expressiveness of the individuality of the images increases. Using his experience in creating operettas, Delibes introduced genre sketches of characters into ballet. Delibes' ballet music was highly valued by P. I. Tchaikovsky and A. K. Glazunov, who were close to his creative principles, primarily the symphonization of ballet.

The production of this ballet is considered the most successful of the works of the French choreographer Saint-Leon; this was the last work in his life and followed his 10-year stay in Russia as the chief imperial choreographer; however, while working in Russia, he constantly continued to stage new ballets in Paris, where he often visited from Russia. In the past, a virtuoso dancer, Saint-Leon worked a lot and fruitfully; on the Russian stage he staged, in particular, “The Little Humpbacked Horse” by Caesar Pugni based on the fairy tale by P. P. Ershov and “The Golden Fish” by Ludwig Minkus based on A. S. Pushkin. In an effort to increase the spectacular diversity of ballets, Saint-Leon developed the genre of character dance, stylizing national dances for the ballet stage.

The ballet “Coppelia, or the Girl with Enamel Eyes,” the last French ballet of the romantic movement, is recognized by world ballet criticism as the pinnacle of the entire work of Arthur Saint-Leon.

Having become the last French romantic ballet, this work magnificently closes the genre of ballet romanticism, begun by the ballet “Giselle”. According to J. Balanchine, while “Giselle” is recognized as the greatest tragedy in the history of ballet, “Coppelia” is the greatest of choreographic comedies. Thus, the style of romanticism in French ballet began with tragedy and ended with comedy.

Four months after the successful premiere of the ballet Coppélia, Arthur Saint-Leon died unexpectedly at the age of 49.

The main storyline of the ballet provides sufficient scope for creating alternative scenarios, which is what most directors have used. Here is a brief retelling of the script according to the version staged by Petipa and Cecchetti and restored by Sergei Vikharev in Novosibirsk and the Bolshoi Theater. Some other versions can be found at the links:

• version of Petipa and Cecchetti, realized by Sergei Vikharev

First act

The action of Hoffmann's German fairy tale is transferred to Galicia, which allows for the inclusion of Hungarian and Polish dances in the ballet. The scene depicts the square of a small town. In the window of one of the houses owned by Professor Coppelius, you can see his daughter Coppelia, beautiful and mysterious simply because she is never on the street and does not communicate with anyone in the city. Some youths in the city tried to make signs to her, but she did not respond to them. The main character of the ballet, a local girl Swanilda, appears on stage, who is engaged to Franz, but suspects that her fiancé, like many young people in the town, is not indifferent to Coppelia.

After some time, Franz appears on the square, at first he goes to Swanilda’s house, but then, thinking that they cannot see him, he bows to Coppelia, who returns his bow. Coppelius and Swanilda are watching this from their window from their hiding place. She runs out and chases the butterfly. Franz catches a butterfly and pins it to his hat. Swanilda is outraged by his cruelty and breaks up with him.

A crowd of people and the burgomaster appear in the square. He announces an upcoming celebration to celebrate the receipt of a new bell. He asks Swanilda if he shouldn’t arrange a wedding with Franz at the same time. By dancing with a straw, she shows that everything is over between her and Franz.

At night the town square is empty. Coppelius leaves the house to a nearby tavern. A crowd of young people surrounds him, inviting him to join them. He breaks free and leaves, but in the process loses the key to the house. A crowd of girls finds the key. They persuade Swanilda to enter Coppelius's house.

Franz appears, not knowing that the girls are in the house, he sets up a ladder and tries to climb through the window. At this time, Coppelius returns and sees Franz trying to get into the house.

Second act

The action of the second act takes place in Coppelius's night workshop, full of books, tools, and automata dolls. The girls looking around the workshop notice Coppelia and realize that it is a doll. The girls, having played out, press the springs, and the dolls begin to move. Swanilda changes into Coppelia's dress. Coppelius appears and drives the girls away. He examines the doll, which appears to be intact. At this time, Franz climbs in through the window. He heads towards Coppelia, but is grabbed by an old man. Franz tells him of his love for Coppelia. Then Coppelius has an idea to revive the doll. He drugs Franz with wine and sleeping pills.

With the help of magic, he wants to transfer the vitality of Franz. It seems that this is successful - the doll gradually comes to life, dances a Spanish dance and a jig. She moves faster and faster, begins to drop her tools, and wants to pierce Franz with her sword. With great difficulty, Coppelius sat the doll in place. The old man wants to rest. Franz wakes up and leaves the house with Swanilda, who has appeared from behind the curtain. Coppelius understands that he was deceived and the role of the doll was played by Swanilda.

Third act

City celebration of the consecration of the bell. Franz and Swanilda made peace. Coppelius appears and demands compensation for the destruction caused in the workshop. Swanilda wanted to give him her dowry, but the burgomaster gives him the money. The holiday begins with allegorical dances

Music

Act I

1 Prelude et Mazurka 2 Valse Lente 3 Scène 4 Mazurka 5 Scène 6 Ballade de L’Epi 7 Thème Slave Varie 8 Czardas 9 Finale

Act II

10 Entr'acte et Valse 11 Scène 12 Scène 13 Musique des Automates 14 Scène 15 Chanson a Boire et Scène 16 Scene et Valse de la Poupeé 17 Scène 18 Bolero 19 Gigue 20 Scène 21 Marche de la Cloche

Act III

22 Introduction 23 Valse des Heures 24 L’Aurore 25 La Priere 26 Le Trevail 27 L’Hymne 28 Le Discorde et la Guerre 29 La Paix 30 Danse de Fete 31 Galop Finale

Some productions

In Russia and the USSR

• February 17, 1894 - at the Mariinsky Theater, choreographer Enrico Cecchetti and Lev Ivanov, choreography by M. Petipa, artists I. P. Andreev (1 act), G. Levot (2 act), P. B. Lambin (3 act ), E. P. Ponomarev (costumes); Svanilda - Pierina Legnani (later Matilda Kshesinskaya, Olga Preobrazhenskaya, etc.).
• February 25, 1905 at the Bolshoi Theater, choreographer A. A. Gorsky. Cast: Swanilda - Ekaterina Geltser, Franz - Vasily Tikhomirov, Coppelius - Vasily Geltser.

• On March 6, 1918, at the Petrograd Opera and Ballet Theater, choreographer Cecchetti resumed the 1894 production; conductor Lachinov
• September 12, 1924 at the Bolshoi Theater on the stage of the Experimental Theater, revival after A. A. Gorsky, conductor Yu. F. Fayer; artist K. F. Waltz. Cast: Swanilda - Anastasia Abramova, Franz - Ivan Smoltsov, Coppelius - Vladimir Ryabtsev.
• Around 1929 - by the Moscow Art Ballet troupe under the direction of V.V. Krieger, which soon joined the Musical Theater named after K.S. Stanislavsky and Vl. I. Nemirovich-Danchenko. “Coppelia” is one of the first performances of the troupe
• April 4, 1934 at the Leningrad Maly Opera Theater by choreographer F. V. Lopukhov, according to his own script in 3 acts with a prologue, with a puppet interlude by E. S. Demmeni, designer M. P. Bobyshov, conductor I. E. Sherman. Cast: Swanilda - 3. A. Vasilyeva, Franz - P. A. Gusev, Coppelius - M. A. Rostovtsev.
• May 7, 1949 - in the branch of the Bolshoi Theater, choreographers E. I. Dolinskaya and A. I. Radunsky, choreography by A. A. Gorsky, conductor Yu. F. Faier, artist L. N. Silich. Cast: Svanilda - O. V. Lepeshinskaya (then S. N. Golovkina), Franz - Yu. G. Kondratov, Coppelius - V. I. Tsaplin (then A. I. Radunsky).
• 1949 - new production at the Leningrad Maly Theater, set design by G. B. Yagfeld, choreographer N. A. Anisimova, artist T. G. Bruni, conductor E. M. Kornblit; Swanilda - G. I. Isaeva, Coppelia - V. M. Rosenberg, Franz - N. L. Morozov.
• December 14, 1973 - new production at the Leningrad Maly Theater, choreographer O. M. Vinogradov, designer M. A. Sokolova, conductor V. A. Chernushenko. Cast: Coppelius - G.R. Zamuel, S.A. Sokolov, Coppelia - L.V. Filina, Svanilda - T.I. Fesenko, B.C. Mukhanova, Franz - N. A. Dolgushin.
• June 16, 1975 Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko, choreographer Chichinadze, script by A. V. Chichinadze and A. S. Agamirova, artist E. G. Stenberg, conductor - G. G. Zhemchuzhin; Cast: Swanilda - M. S. Drozdova, Franz - V. S. Tedeev, Coppelius - A. N. Domashev, V. B. Ostrovsky.
• 12/24/1977 - The Moscow Choreographic School and the Moscow Conservatory on the stage of the Kremlin Palace of Congresses, choreographers Golovkina Sofya Nikolaevna, Martirosyan Maxim Saakovich, A. I. Radunsky resumed the production of A. A. Gorsky, designer V. S. Klementyev, conductor A. A. Kopylov. Cast; Svanilda - I.M. Pyatkina (then E. Luzina, I. Kuznetsova), Franz - V.I. Derevyanko (then I.D. Mukhamedov, A.N. Fadeechev), Coppelius - A.I. Radunsky.
• 1992 - Moscow “Russian Ballet”, edition of V. M. Gordeev
• March 24, 1992 - Mariinsky Theater, choreographer O. M. Vinogradov, designer V. A. Okunev (scenery), I. I. Press (costumes), conductor A. Vilyumanis; Coppelius - P. M. Rusanov, Coppelia - E. G. Tarasova, Svanilda - L. V. Lezhnina, Irina Shapchits. Franz - Mikhail Zavyalov.
• March 8, 2001, the Kremlin Ballet Theater in the State Kremlin Palace, Choreographer and author of the new edition of the libretto - Andrei Petrov. Scenography - Boris Krasnov, production designer - Pavel Orinyansky, costume designer - Olga Polyanskaya. Presidential Orchestra of the Russian Federation, artistic director and conductor - Pavel Ovsyannikov, fragments of music by Ernst Theodor Amadeus Hoffmann are used in the ballet. Professor of Magic - Valery Lantratov, Franz - Konstantin Matveev, Svanilda - Zhanna Bogoroditskaya, Coppelia - Nina Semizorova
• On May 24, 2001, at the Novosibirsk Opera and Ballet Theater, choreographer Sergei Vikharev restored the production of the Mariinsky Theater from 1894. The choreography of M. Petipa and E. Cecchetti was restored using recordings by N. Sergeev, performed in the choreographic notation system of V. Stepanov, from the theater collection of Harvard university. Production designer - Vyacheslav Okunev restored the original scenography. Conductor - Andrey Danilov. Tours of the NGATOiB with the ballet “Coppelia”: Spain (2002), Portugal (2002), Japan (2003), Thailand (2004).
• In 2007, the Tatar Academic State Opera and Ballet Theater named after Musa Jalil staged “Coppelia” choreographed by A. Saint-Leon and M. Petipa. Production designer - Anna Nezhnaya (Moscow). Choreographer - Vladimir Yakovlev.
• March 11, 2009 Classical Ballet Theater (Moscow) staged by Natalia Kasatkina and Vladimir Vasilev in 2 acts, in a new edition of the libretto. Choreography: Arthur Saint-Leon, Enrico Cecchetti, Marius Petipa, Alexander Gorsky, Natalia Kasatkina and Vladimir Vasilev. Artist - Elizaveta Dvorkina. Orchestra of the New Opera Theater. Conductor - Valery Kritskov. Cast: Swanilda - Lyudmila Doksomova; Franz - Alexey Orlov; Coppelia - Ekaterina Berezina; Coppelius - Vladimir Muravlev; Ekaterina Khapova - in “allegorical” dances (Dawn - Prayer - Work - Twilight)
• March 12, 2009 The Bolshoi Theater production, staged by Sergei Vikharev, repeats his Novosibirsk attempt in 2001 to restore the choreography of Marius Petipa and Enrico Cecchetti of the Second St. Petersburg edition of the ballet from 1894. The revival of the scenery is by Boris Kaminsky, the costumes by Tatiana Noginova. The conductor of the performance is Igor Dronov. Cast: Swanilda - Maria Alexandrova, Natalya Osipova, Anastasia Goryacheva Franz - Ruslan Skvortsov, Vyacheslav Lopatin, Artem Ovcharenko.

Performances at opera and ballet theaters in other cities:

• 1918 - Voronezh, choreographer M. F. Moiseev
• 1925 - Azerbaijan State Academic Opera and Ballet Theater named after. M.F. Akhundova (Baku), choreographer Govorkov.
• 1922 - choreographic studio under the direction of the 1st Belarusian Theater (now the Belarusian Theater named after Y. Kupala) (Minsk), choreographer K. A. Aleksyutovich (Belorian) Russian
• 1922 - Sverdlovsk Opera and Ballet Theater, choreographer K. L. Zalevsky
• 1927 - Ukrainian Opera and Ballet Theater named after T. G. Shevchenko (Kyiv), choreographer Ryabtsev
• 1928 - Ukrainian Opera and Ballet Theater named after T. G. Shevchenko (Kyiv), choreographer Diskovsky
• 1935 - Belarusian Opera and Ballet Theater (Minsk), choreographer F.V. Lopukhov, production director G.N. Petrov
• 1935 - Georgian Opera and Ballet Theater named after. 3. P. Paliashvili (Tbilisi), choreographer V. A. Ivashkin
• 1936 - Dnepropetrovsk, choreographer F.V. Lopukhov
• 1937 - Gorky State Opera and Ballet Theater named after A.S. Pushkin choreographer Sidorenko
• 1938 - Georgian Opera and Ballet Theater named after. 3. P. Paliashvili (Tbilisi), choreographer V. A. Ivashkin.
• 1940 - Bashkir State Opera and Ballet Theater (Ufa), choreographer N. G. Zaitsev, conductor H. V. Fazlullin (1948, 1963)
• 1941 - Ukrainian Opera and Ballet Theater named after T. G. Shevchenko (Kyiv), choreographer S. N. Sergeev
• 1941 - Kyrgyz State Opera and Ballet Theater (Frunze), choreographer V.V. Kozlov
• 1943 - Ukrainian Opera and Ballet Theater named after T. G. Shevchenko in evacuation, choreographer S. N. Sergeev
• 1946 - Gorky Opera and Ballet Theater named after A. S. Pushkin, choreographer S. V. Insarsky
• 1947 - Uzbek Opera and Ballet Theater named after Alisher Navoi (Tashkent), choreographer P. K. Yorkin
• 1948 - Odessa Opera and Ballet Theater, choreographer V. I. Vronsky
• 1949 - Perm Academic Opera and Ballet Theater named after Pyotr Ilyich Tchaikovsky, choreographer Yu. P. Kovalev;
• 1948 - Armenian Academic Opera and Ballet Theater named after. A. Spendiarova (Yerevan)
• 1948 - (Kazan), choreographer F. A. Gaskarov
• 1949 - Buryat Musical and Drama Theater (Ulan-Ude)
• 1953 - Ukrainian Opera and Ballet Theater named after T. G. Shevchenko (Kyiv), choreographer N. S. Sergeev
• 1958 - Irkutsk Regional Musical Theater named after N.M. Zagursky, choreographer A.D. Gulesko
• 1959 - Orenburg
• 1960 - Perm Opera and Ballet Theater, choreographer G. V. Shishkin
• 1961 - North Ossetian State Opera and Ballet Theater (Ordzhonikidze)
• 1963 - Tatar Opera and Ballet Theater named after M. Jalil (Kazan), choreographer S. M. Tulubieva
• 1965 - Krasnoyarsk Theater of Musical Comedy - choreographer A. D. Gulesko
• 1965 - Uzbek Opera and Ballet Theater named after Alisher Navoi (Tashkent), choreographer A.V. Kuznetsov
• 1966 - Opera and Ballet Theater of the Latvian SSR (Riga) - choreographer I. K. Strode
• 1967 - National Opera “Estonia” (Tallinn), choreographer M. O. Murdmaa
• 1970 - Voronezh Choreographic School, choreographer K. A. Esaulova
• 1974 - Sverdlovsk Opera and Ballet Theater, choreographer M. N. Lazareva,
• 1975 - Georgian Opera and Ballet Theater named after. 3. P. Paliashvili (Tbilisi), choreographer G. D. Aleksidze
• 1975 - Gorky Opera and Ballet Theater named after A. S. Pushkin, choreographer K. A. Esaulova
• 1978 - National Opera "Estonia" (Tallinn) - choreographer G. R. Zamuel
• 1983 - Krasnoyarsk Opera and Ballet Theater - choreographer K. A. Shmorgoner, after A. A. Gorsky
• 1984 - Novosibirsk Opera and Ballet Theater - choreographer V. A. Budarin.
• 1985 - Moldavian Opera and Ballet Theater (Chisinau) - choreographer M. M. Gaziev
• 1987 - Armenian Opera and Ballet Theater named after. A. A. Spendiarova (Yerevan) - choreographer M. S. Martirosyan
• 1991- Voronezh Choreographic School, choreographers N. G. Pidemskaya and E. V. Bystritskaya)
• 1993 - Moscow Children's Musical Theater named after N.I. Sats, choreographer Lyapaev

In the Baltic countries

• December 4, 1925 - the first ballet on the Lithuanian national stage - Lithuanian Opera and Ballet Theater (Kaunas), choreographer P. Petrov
• 1922 - the first full production of the still semi-professional ballet troupe of the Estonia Theater, carried out by V. Krieger, which toured in Estonia.
• 2002 - National Opera “Estonia”, staged by Mauro Bigonzetti, tragic interpretation of the plot.
• March 4, 2010 - the first ballet of the newly created Estonian National Ballet on the stage of the Estonian National Opera, staged by English choreographer Ronald Hind.
• January 23, 2009 - National Opera of Latvia, ballet director - director of the Latvian Ballet Aivars Leimanis, artist Inara Gauja. The roles of Svanilda are played by three actors: Elsa Leimane, Baiba Kokina and Sabine Guravska, Franz - Raymond Martynov, Artur Sokolov and Sigmar Kirilko.

In other countries

• November 29, 1871 - Théâtre de la Monnaie (Brussels), choreographer Joseph Hansen (or Hansen) after Saint-Leon. He will stage the ballet at the Moscow Bolshoi Theater
• 1877 - Budapest, choreographer Campilly
• 1884 - Hungarian Opera House, Budapest, choreographer Campilly.
• November 8, 1884 - One-act version staged by Bertrand after Saint-Leon, Empire Theater, London. Swanilda - A. Holt, Coppelius - W. Ward.
• March 11, 1887 - Metropolitan Opera, New York
• January 26, 1896 - La Scala (Milan), choreographer Giorgio Saracco,
• December 27, 1896 - Royal Danish Ballet (Copenhagen), choreographers G. Glaserman and Hans Beck, Swanilda - V. Borksenius, Franz - Beck.
• November 21, 1896 - Munich Court Theatre, choreographer Alexandre Genet, Swanilde Adeline Genet (Genee)
• 14 May 1906 - restoration of the production at the Empire Theater, London
• 1912 - Hungarian Opera House, Budapest, choreographer N. Guerra.
• 1928 - Sofia Folk Opera, choreographer A. Petrov
• 1929 - the First Australian Ballet troupe was created in Australia under the direction of M. Burlakov and L. Lightfoot, which gave performances on the stage of the Savoy Theater in Sydney, “Coppelia” was one of the first performances
• March 21, 1933 - the Vic Wells Ballet troupe on the stage of Sadler's Wells, London, in 2 acts, choreographer N. G. Sergeev based on Petipa and Cecchetti; Svanilda - L.V. Lopukhova (later Ninette de Valois), Franz - S. Judson, Coppelius - X. Brighe.
• 1936 - Ballet Russe de Monte Carlo troupe, choreographer N. Zverev, artist M. V. Dobuzhinsky; Svanilda - V. Nemchinova.
• October 22, 1942 - Simon Semyonov after Saint-Leon, Ballet Theater, New York
• 1942 - the “Kaitani Baredan” troupe was created in Japan, under the direction of Kaitani Yaoko, “Coppelia” - one of the first performances
• 1948 - Parlić, Dmitry (Raglic), Belgrade
• 1951 - Pino and Pia Mlakar (Mlakar) - in Ljubljana
• 1951 - the National Ballet of Canada troupe was created in Canada (Toronto) under the direction of Celia Franca, “Coppelia” is one of the first performances
• 1953 - Hungary, choreographer D. Harangoso,
• 1956 - State Opera, Berlin, choreographer L. Gruber.
• August 31, 1956 - London Festival Ballet, London Harold Lander after Glasemann and Beck Swanilda - B. Wright, Franz - J. Gilpin.
• 1961 - Milan, choreographer A. D. Danilova
• 1962 - Chile, Santiago, O. Cintolesi’s troupe “Ballet of Modern Art”
• December 24, 1968 - American Ballet Theatre, Brooklyn Academy, New York, choreographer Enrico Martinez,
• 1973 - Paris Opéra Ballet, restoration by Pierre Lacotte of Saint-Léon's original production
• July 1974 - New York City Ballet, Saratoga Springs, staged by George Balanchine with the participation of Alexandra Danilova, choreography by Petipa and Cecchetti. Having retained Petipa's choreography in Act 2, Balanchine created new choreography for Act 3 and for the Mazurka, Czardas and Franz Variation from Act I. Cast: Swanilda - Patricia McBride; Franz - Helgi Tomasson, Coppelius - Shaun O'Brien
• September 18, 1975 - Ballet of Marseille, choreographer Roland Petit.
• April 2001 - Paris Opera Choreography: Albert Aveline and Pierre Lacotte. Cast: Swanilda-Charlene Gaiserdanner, Franz-Mathieu Gagno, Coppelius-Pierre Lacotte
• May 1, 2004 - new production by Thorsten Händler at the Chemnitz Opera House. The action is transferred to a school at the beginning of the 20th century.
• November 19, 2005 - State Theater Karsruhe, English choreographer Peter Wright was guided by the editing of Marius Petipa and Enrico Cecchetti. Music: Baden State Kapelle Karlsruhe.
• On January 29, 2006, the Vienna State Opera choreography by Gyula Harangoso was reproduced by his son Gyula Harangoso Jr. Swanilda - Polina Semyonova, Franz - Tomas Tamás Solymosi - Coppelius - Lukas Gaudernak, Coppelia - Shoko Nakamura

Performers of parts in ballet

Swanilda

• Abramova, Anastasia Ivanovna - Bolshoi Theater
• Vasilyeva, Zinaida Anatolyevna - first performance at the Leningrad Maly Theater
• Ville, Elsa Ivanovna - Mariinsky Theater
• Gavrilova, Alexandra Ivanovna - Ukrainian Opera and Ballet Theater named after T. G. Shevchenko (Kyiv)
• Gaten, Lidia Nikolaevna - first performance at the Bolshoi Theater
• Geltser, Ekaterina Vasilievna - Bolshoi Theater
• Golikova, Elena Vasilievna
• Golovkina, Sofya Nikolaevna - Bolshoi Theater
• Jury, Adelina Antonovna - Bolshoi Theater
• Drozdova, Margarita Sergeevna - Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko
• Genet, Adeline (Genee) - Munich Court Theater 1896
• Ivanova, Galina Mikhailovna - Tatar Opera and Ballet Theater named after M. Jalil
• Iozapaityte, Maria Iozovna - Lithuania
• Jordan, Olga Genrikhovna - theater named after. Kirov
• Isaeva, Galina Ivanovna - Leningrad Maly Theater
• Kazinets, Marina Ivanovna - Georgian Opera and Ballet Theater named after. 3. P. Paliashvili
• Kaitani, Yaoko - Japan, in her own troupe "Kaitani baredan"
• Kirillova, Galina Nikolaevna - Leningrad Maly Theater
• Kokurina, Anastasia Nikolaevna - Perm Opera and Ballet Theater
• Krieger, Victorina Vladimirovna - Bolshoi Theater
• Kshesinskaya, Matilda Feliksovna - Mariinsky Theater
• Kyaksht, Lidia Georgievna - Mariinsky Theater
• Lakatos, Gabriella (Lakatos) - Hungary
• Pierina Legnani - Mariinsky Theater
• Lepeshinskaya, Olga Vasilievna - Bolshoi Theater
• Malainaite, Olga Viktorovna - Lithuania
• Malysheva Alla Nikolaevna - Leningrad Maly Theater
• Mlakar, Veronica - Yugoslavia, Munich Opera House
• Nasretdinova, Zaytuna Agzamovna - Bashkir Opera and Ballet Theater
• Nerina, Nadya (Nerina) - English Royal Ballet
• Nikitina, Varvara Alexandrovna - Bolshoi Theater of St. Petersburg
• Nikolaeva, Alexandra Vasilievna - Belarus
• Preobrazhenskaya, Olga Iosifovna - Mariinsky Theater
• Roslavleva, Lyubov Andreevna - Bolshoi Theater
• Savicka, Olga (Savicka) - Poland
• Trefilova, Vera Alexandrovna - Mariinsky Theater
• Urusova, Victoria Arnoldovna - Azerbaijan Opera and Ballet Theater named after. M. F. Akhundova
• Fesenko, Tatyana Ivanovna - Leningrad Maly Theater
• Fonteyn, Margot (Fonteyn) - England
• Froman, Margarita Petrovna - Bolshoi Theater
• Shearer, Moira (Shearer) - England
• Yarygina, Antonina Vasilievna - Ukraine

Coppelia

• Bittner, Barbara (Bittnerowna) - Poland
• Gaten, Lidia Nikolaevna - Bolshoi Theater
• Kun, Zsuzsa - Hungary
• Kuznetsova, Svetlana Aleksandrovna - Novosibirsk Opera and Ballet Theater
• Kullik, Margarita Garaldovna - Leningrad Theater named after. Kirov
• Linnik, Anna Sergeevna - Leningrad Maly Theater
• Malysheva, Alla Nikolaevna - Leningrad Maly Theater
• Pirozhnaya, Galina Nikolaevna - Leningrad Maly Theater
• Rosenberg, Valentina Maksimovna - Leningrad Maly Theater
• Statkun, Tamara Vitalievna - Leningrad Maly Theater
• Filina, Lyudmila Vladimirovna - Leningrad Maly Theater

Franz

• Volinin, Alexander Emelyanovich - Bolshoi Theater
• Gerdt, Pavel Andreevich - Bolshoi Theater of St. Petersburg, first performer
• Gusev Pyotr Andreevich - first performance at the Leningrad Maly Theater
• Dolgushin, Nikita Aleksandrovich - Leningrad Maly Theater
• Zhukov, Leonid Alekseevich - Bolshoi Theater
• Kondratov Yuri Grigorievich - Bolshoi Theater
• Kyaksht, Georgy Georgievich - Mariinsky Theater
• Moiseev, Mikhail Fedorovich - Voronezh, 1918
• Ostrovsky, Vasily Borisovich - Leningrad Maly Theater
• Podushin, Vasily Serafimovich - Krasnoyarsk Theater
• Ponomarev, Vladimir Ivanovich - theater named after. Kirov
• Smoltsov, Ivan Vasilievich - Bolshoi Theater
• Sokolov, Nikolai Sergeevich - Leningrad Maly Theater
• Staats, Leo (Staats) - France
• Tedeev, Vadim Sergeevich - Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko
• Tikhomirov, Vasily Dmitrievich - Bolshoi Theater
• Fulop, Victor (Fulop) - Hungary

Coppelius

• Bulgakov, Alexey Dmitrievich - Bolshoi Theater
• Geltser, Vasily Fedorovich - Bolshoi Theater
• Domashev, Alexander Nikolaevich - Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko
• Orlov, Alexander Alexandrovich - Mariinsky Theater
• Obukhov, Mikhail Konstantinovich - Mariinsky Theater
• Radunsky, Alexander Ivanovich - Bolshoi Theater
• Rostovtsev, Mikhail Antonovich - first performer at the Leningrad Maly Theater
• Ryabtsev, Vladimir Alexandrovich - Bolshoi Theater
• Sarkisov Vyacheslav Georgievich - Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko
• Simkin, Dmitry Feliksovich - Novosibirsk Opera and Ballet Theater
• Sidorov, Ivan Emelyanovich - Bolshoi Theater
• Stukolkin, Timofey Alekseevich - first performer at the Bolshoi Theater of St. Petersburg,
• Harangozo, Gyula (Harangozo) - Hungary
• Helpman, Robert (Helpmann) - England
• Tsaplin, Viktor Ivanovich - Bolshoi Theater
• Shiryaev, Alexander Viktorovich - Mariinsky Theater
• Khlyustin, Ivan Nikolaevich - Bolshoi Theater
• Wanner, Wilhelm - Bolshoi Theater
• Chekrygin, Alexander Ivanovich - Mariinsky Theater

In astronomy

Asteroid (815) Coppelia is named after the ballet Coppelia (English) Russian , opened in 1916

Links

• Ballet “Coppelia” staged by the Classical Ballet Theater under the direction of N. Kasatkina and V. Vasilyov

Sources

• Theater encyclopedia in 6 volumes. Ch. ed. P. A. Markov. - M.: Soviet Encyclopedia
• Russian ballet. Encyclopedia. Great Russian Encyclopedia, 1997 ISBN 5-85270-162-9, 9785852701626

2 hours 20 minutes

two intermissions

The ballet “Coppelia” by French composer Léo Delibes has not lost popularity for almost 150 years. The authors of the libretto, choreographer Arthur Saint-Leon and Charles Nuiter, based the plot on E. T. A. Hoffmann’s short story “The Sandman,” about a young man who fell in love with a mechanical doll created by the skilled craftsman Coppelius.

The authors of the performance are the production team that presented the magical ballet “Cinderella” to the Novosibirsk audience in the 73rd season: choreographer Mikhail Messerer, artists Vyacheslav Okunev and Gleb Filshtinsky. Now the producers have created an elegant comedy about the quarrel and reconciliation of lovers, the main character of which, the mischievous Swanilda, finds a witty way to teach her unfaithful fiance a lesson...

In the new “Coppelia”, as in the “Cinderella” beloved by Novosibirsk residents, multimedia decorations are used, along with traditional picturesque ones; the performance has video projection and expressive lighting effects. “Coppelia” features wonderful music by Leo Delibes, bright dance numbers, an entertaining love story, good humor and fun game moments that will definitely appeal to the youngest viewers of NOVAT.

Choreographer Mikhail Messerer said that in his new work he relies on the classical versions of Coppelia, using motifs from the performances of Arthur Saint-Leon, Marius Petipa and Alexander Gorsky: “In classical ballet literature there are only a few comedic ballets, and the most important among them is Coppelia " Today, audiences all over the world demand classical ballet performances with complex finger techniques from ballerinas and virtuosic male dancing - that is, exactly what this cheerful, cheerful ballet abounds in. “Coppelia” is not only a standard of pure, classical choreography, but also a performance that the whole family can go to. Such ballets sound relevant, modern, and they should live on stage and delight the audience.”

Prologue

Before us is an amazing office filled with wonderful things and numerous clock mechanisms. The owner of the office, Doctor Coppelius, is a master watchmaker and engineer-puppeteer passionate about his work to the point of eccentricity. He makes dolls all his free time, and his office is home to many cheerful and good-natured mechanical dolls.

Coppelius decides to create a whole small city, populate it with inhabitants - and play out a cheerful, mischievous love story in it. With a wave of Coppelius's hands, we are transported from his office to the streets of a town located on the border with Galicia...

First action

The day before, all the residents of the town were shocked by incredible news - a charming girl settled with Coppelius, and no one knew who she was or where she came from. The residents considered her the daughter of Coppelius and named her Coppelia. The young men vying with each other tried to get to know her, although to no avail, and the girls jealously watched them. However, one of the young men, Franz, was lucky: the girl not only returned his bow, but even blew a kiss from the window, which caused Franz to have a quarrel with his fiancée Swanilda.

It's getting dark. Young people try to enter Coppelius's house, but the owner disperses them, like delinquent schoolchildren. In the chaos, he loses the key to the house. Swanilda and her friends find the key, and the girls decide to sneak into the house to find out who this beautiful stranger is. Coppelius returns, finds the door of the house open and quietly enters the house, wanting to catch the uninvited guests. Franz, offended by Swanilda, decides to climb into the stranger’s window through the window, not knowing that in the house are Swanilda and her friends and Coppelius himself.

Second act

Coppelius watches as Franz, in search of a closer acquaintance with Coppelia, enters his house. With one movement of his hand, Coppelius transfers the events of the game from the city street back to his office.

Having made their way into Coppelius's house, Swanilda and her friends explore the wonderful room. Their curiosity knows no bounds. There is a Chinese man, a Spanish woman, a knight, an astrologer, a clown and many, many other dolls. The big surprise and surprise for them is that the stranger they are interested in also turns out to be a doll. To celebrate, the girls wind up all the toys and dance. The returning Coppelius finds them at the crime scene. The friends manage to escape, but the clock and doll maker detains Swanilda.

At this time, Franz appears at the window. Swanilda complains to the good master about the young man’s betrayal, and Coppelius invites her to play a little prank on Franz and teach him a lesson.

Having given the flighty young man some wine, Coppelius dresses Swanilda in a doll's dress, and then introduces Franz to the beautiful “stranger”. The young man is confused by the girl’s angular movements; she walks as if “through warehouses.” When Coppelius tells him that it is a doll, Franz cannot recover from amazement - it is so well made.

Coppelius, with a mysterious look, says that he can bring the doll to life. Franz doesn’t believe this: it’s enough that he already got into trouble once and fell in love with the doll. But what is it? The doll really came to life. Franz is convinced of this by listening to her heart beat. Interest in the girl flares up in him again, and he asks Coppelius for her hand. Now Franz's betrayal is obvious. Swanilda tears off the doll's wig and makes Franz repent of his behavior. The young man begs her for forgiveness. Franz's repentance is so sincere, and their mutual love is so obvious that the intervention of Coppelius, who decided to reconcile the lovers, leads everyone to a happy end.

Third act

Coppelius is preparing a gift for the city residents - a new clock for the town hall in the central square. At the request of the master watchmaker, the dolls from his office become part of an amazing clock mechanism.

A luxurious watch appears before delighted citizens celebrating City Day. The square is filled with people. Traditionally, a wedding is also celebrated on this day. Today, several young couples are getting married at once, and among them are Swanilda and Franz.

The ceremony is over, the festive dancing begins.

Coppelius calls Swanilda and Franz over to him and, looking slyly at the happy young man, the old master gives the young couple a small doll as a souvenir as a pledge of their true love.

Epilogue

The holiday is nearing its end. Coppelius understands that it is time to end the game of the revived city. The inhabitants of the town disperse, only Franz and Swanilda remain in the square, and Coppelia is still sitting on the balcony. But perhaps the watchmaker did not take something into account, and the city will continue to live its own life...

In addition to excellent dancing, this ancient ballet has two more undeniable advantages. Firstly, Coppelia is a comedy, and there are not many of them among the masterpieces of the classical heritage. Secondly, a comedy with great music.

It is widely known how P. Tchaikovsky assessed Delibes’ skill “in the field of ballet”: “The first ballet in which music is not only the main, but also the only interest. What a beauty, what grace, melodic, rhythmic and harmonic richness.” These words, however, were said about another ballet by the composer, but with the same success they can be attributed to “Coppelia”. It is not for nothing that music from Coppelia is also performed on the concert stage.

The main storyline of this cheerful ballet, oddly enough, is taken from Hoffmann’s completely sad short stories, mainly from The Sandman. In Hoffmann, a young man's love affair with a doll ends tragically, and in the ballet - with the wedding of this young man with a lively and energetic beauty (Swanilda), who managed to resist the insidious creator of the doll (Coppelia), who almost became a fatal homewrecker.

“Coppelia” saw the light of the stage in 1870 at the Paris Opera (National Academy of Music and Dance). Its father-creator was Arthur Saint-Leon, who gave up the post of head of the St. Petersburg ballet to Marius Petipa, a choreographer, as well as a virtuoso dancer, an expert in dance folklore, a composer and a violinist. His substantive interest in the “dances of the peoples of the world” determined the appearance in the musical score of such a rich “set” of dance melodies based on folklore. It is believed that this is one of the first ballets to introduce Slavic motifs.

During the fourteen years that passed from the Paris premiere to Petipa's own production on the stage of the St. Petersburg Bolshoi Theater, Coppelia appeared on the stages of Brussels, the Moscow Bolshoi Theater and London. Until the end of the 19th century, the ballet was also staged in New York, Milan, Copenhagen, Munich and again in St. Petersburg, now on the stage of the Mariinsky Theater. The 20th century also paid tribute to this ballet, offering, among other things, very modern interpretations and even at times abandoning its comedic element.

The second St. Petersburg edition of “Coppelia” (choreography by Marius Petipa, staged by the Italian teacher and choreographer Enrico Cecchetti, who served in St. Petersburg at that time), was carried out in 1894, and was revived in 2009 at the Bolshoi Ballet Researcher Pavel Gershenzon and the famous premier of the Mariinsky Theater, choreographer-restorer Sergey Vikharev.

In 2001, the premiere of their reconstructed “Coppelia” took place at the Novosibirsk Opera and Ballet Theater. The performance made such a strong impression on the theater community that the following year it awarded it the Golden Mask National Theater Award.

It was assumed that in the 2017/18 season Sergei Vikharev would stage an updated version at the Bolshoi, but a tragic accident that cut short the life of the beloved choreographer forced these plans to be abandoned. We show the original edition, carefully and carefully restored.

FROM PREPREMIERE INTERVIEW (2009) SERGEY VIKHAREV:

This ballet features interesting classical dances. Interesting character dances. And a very interesting pantomime. That is, all three pillars on which the old classical ballet stands take place. And plus - Delibes' wonderful music.
Saint-Leon is quite difficult to revive. For the simple reason that practically nothing of what he delivered has survived. But skillfully stylizing it is another matter. However, we can present some crumbs of Saint Leon’s “Coppelia”. This little black cocktail dress is an example of fine and very difficult dance technique, sparkles that are scattered throughout the ballet.

Petipa is another matter. And the recipe for the “revival” of ancient ballet is very simple and has long been known. You need to take the recordings stored in the Harvard collection, see what is there, then open the musical score and compare whether everything is there for those dances that you discovered at Harvard, realize what the ratio of the original and “inserted” text will be, and so Thus, in the end, to understand whether the reconstruction of this ballet is possible in principle. Then you go to the theater museum, theater library and get an idea of ​​whether the costumes and scenery can be restored, study the old program and... And so on, and so on, and so on. All this is very troublesome and difficult, but quite possible. As for “Coppelia” in the 1894 edition, it is very well recorded. Although, naturally, there are some gaps that the person staging the play, by virtue of his profession, should be able to fill.

There is still some complexity associated with the name Cecchetti.
The history of the productions is as follows: first there was Petipa after Saint-Leon, then just Petipa, and then Petipa, staged by Cecchetti. It is almost impossible to clearly distinguish their authorship. This is already such a single choreographic layer. However, some critics think that he introduced complicated ballerina technique. The Italian dancing of the main character is probably really from him.

I don’t see anything wrong with the fact that Hoffmann’s “creepy” works have turned into a very funny ballet comedy. It happened so - and thank God. Sometimes an attempt to return to the literary source does not lead to the best results. In my opinion, in the old days librettists chose a more correct path, adapting literary plots for ballet in a lighter version.

What was Coppelia supposed to tell the viewer? Probably should have hinted that five months after the premiere the French empire would collapse. And it fell apart also because there was such art... When I restored Flora’s Awakening, many said that it now became clear why the king was killed. This was the dominant art then. Ballet and power are an old story of mutual reflection.

And these days, classical ballet is akin to the Latin language, which is used only in medicine, but no one speaks it anymore. And no choreographer in our time would think of staging a purely classical ballet using exclusively classical vocabulary. Such ballets can only be restored and find their charm in this. There are people who are even now ready to condemn the art of the era of Napoleon III or Nicholas II. But I think it's funny. I'm interested in studying both and the third. Ultimately, it expands the palette of knowledge. And all our current “Coppelias” and “Awakenings of Flora” are not just a tribute to fashion, not glamor and not show business, this is contemporary art. Mirrors through which you can see bygone eras.

Text Natalia Shadrina

Print