MY THREE FAVORITE BALLETS ARE THE CLASSIC Coppélia, and two 20th-century works, Appalachian Spring and Fall River Legend. These latter two have already made appearances here at SimanaitisSays: “My Favorite Copland“ includes the gentle pastoral tale of Appalachia. “Lizzie Borden Took an Axe—Or Did She?” is a ballet of the opposite extreme. Both, by the way, are products of Agnes de Mille.
And just recently, Roslyn Sulcas writes about “Coppélia at 50: When City Ballet Took a Turn for ‘Fun and Funny’ ” in The New York Times, September 23, 2024. What a fine means of gleaning tidbits about this 19th-century ballet staged back in 1974 and making a regular return this year, September 27 to 29 and October 5-6, 2024.
We’ll accomplish this in Parts 1 and 2 today and tomorrow. First, some Internet sleuthing:
The First Coppélia. Wikipedia describes, “Coppélia (sometimes subtitled: La Fille aux Yeux d’Émail (The Girl with the Enamel Eyes) ) is a comic ballet from 1870 originally choreographed by Arthur Saint-Léon to the music of Léo Delibes, with libretto by Charles-Louis-Étienne Nuitter. Nuitter’s libretto and mise-en-scène was based upon E. T. A. Hoffmann‘s short story Der Sandmann (The Sandman). In Greek, κοπέλα (or κοπελιά in some dialects) means young woman.”
Wikipedia’s summary: “Dr. Coppélius is a doctor who has made a life-size dancing doll. [Coppélia.] It is so lifelike that Franz, a village youth, becomes infatuated with it and sets aside his heart’s true desire, Swanhilda. She shows him his folly by dressing as the doll, pretending to make it come to life and ultimately saving him from an untimely end at the hands of the inventor.”
George Balanchine, 1904–1983, Georgian-American ballet choreographer, recognized as one of the most influential choreographers of the 20th century. Co-founder of the New York City Ballet. Image, 1965, by Jack De Nijis for Anefo via Wikipedia.
The Balanchine Version. “In 1974,” Wikipedia recounts, “George Balanchine choreographed a version of Coppélia for the New York City Ballet. He was assisted by Alexandra Danilova, who had performed the title role many times during her dancing career. She staged the Petipa choreography for Act II. Balanchine created new choreography for Act III and for the mazurka, czardas and Franz’s variation in Act I. Patricia McBride danced the role of Swanhilda the friendliest girl; Helgi Tomasson danced the role of Franz; Shaun O’Brian portrayed Dr. Coppélius.”
Alexandra Danilova, 1903–1997, Russian-American prima ballerina. Long-time friend of George Balanchine. A Kennedy Center Honoree. Image by Carl Van Vechten of her portraying Fanny Cerrito in Pas de Quatre; image available from the U.S. Library of Congress.
Roslyn Sulcas Picks Up the Tale: “But Balanchine, who asked his Russian compatriot (and former romantic partner), the ballerina Alexandra Danilova, to assist him on staging the ballet, knew what he was doing. In interviews, five original cast members talked about their memories of creating the ballet.”
Tomorrow in Part 2, we share these talented dancers’ memories of working with Balanchine and Danilova. ds
© Dennis Simanaitis, SimanaitisSays.com, 2024