|
|
| Programme |
ACT ONE
In a quaint little village in 19th Century Central Europe, doctor Coppelius is a toymaker who also dabbles in alchemy and magic. He makes wonderfully life-like mechanical dolls and dreams of one day giving them real life. His crowning acheivement is 'Coppelia', a doll so life-like he passes her off as his daughter, placing her in a chair on his balcony reading a book. Swanilda enters the village square and tries to befriend the new girl and becomes annoyed when the girl ignores. Seeing her fiance Franz approaching, Swanilda hides in order to surprise him, but is angered even further when Franz notices the beautiful Coppelia and begins to flirt outrageously with her. Coppelius notices Franz's interest in his doll, and activates her so that she waves back at him. The burgomeister arrives in the village square to announce that the Lord of the Manor has proclaimed a festival for the following day to mark his gift to the town of a new bell for the town clock. Furthermore, the lord will provide handsome dowries to any young girls who marry on that day. The burgomeister asks Swanilda if she will marry Franz tomorrow but she replies she does not know if he still loves her. The burgomeister suggests the local custom of shaking a stalk of wheat near the ear, if the grains rattle it means true love. Swanilda follows the advice but, whilst Franz claims to hear a noise she does not and breaks off their engagement. Franz is annoyed but soon consoles himself that he is now free to pursue the beautiful Coppelia. Later that day, as doctor Coppelius is leaving his house he is jostled by a party of revellers and drops his key in the street. Finding the key, Swanilda lets herself and her friends into the house where she intends to confront her rival. Next, Franz returns with a ladder in order to climb into the house via the balcony. Coppelius himself then returns, and is greatly agitated to see his front door open and rushes inside to search for intruders.
ACT TWO
Swanilda and the girls tiptoe timidly into Coppelius' darkened workshop, which is filled with strange figures in various poses. Curiosity soon overcomes their fears and they marvel at Coppelius' wondrous creations. Discovering the mechanisms which animate the dolls they are delighted at their jerky, comical movements. One girl is held is around the waist by a toy soldier and the others struggle to free her. Swanilda finds Coppelia behind a screen, and is greatly amused to find that her 'rival' is a doll too. Just then Franz climbs in through the window, the girls hide and Swanilda decides to teach Franz a lesson by trading places with Coppelia. Quickly changing into Coppelia's fine costume behind the screen, she sits perfectly still waiting for Franz to discover her. But then Coppelius bursts in, the frightened girls are scared from their hiding places and chased from the house, all except Swanilda who is now posing as Coppelia. Finding Franz also in the room, Coppelius sets about him with his stick, but as he dodges the blows the youth protests that he meant no harm and only wished to meet Coppelius beautiful daughter. Seeing his chance, Coppelius appears to relent and promises to introduce Franz to the object of his desire. But, offering Franz a drink, he drugs the youth and then attempts to use his magic in an attempt to transfer some of Franz's life-force into Coppelia to bring his doll to life. Not knowing that Swanilda has switched places with Coppelia, he watches anxiously to see the results of his magic. Coppelia (Swanilda) begins to move mechanically at first but her movements become less and less jerky and soon she is dancing perfectly around the workshop, and attempting to revive Franz whenever Coppelius is not looking. Satisfied with the results of his machinations, Coppelius attempts to push the reviving Franz out of his house, but then Swanilda reveals her identity and shows Coppelius then lifeless Coppelia doll behind the screen. Devastated, Coppelius drops to the floor as the lovers escape.
ACT THREE
After the incident in the workshop, Franz has learned the error of his ways and come to realise he truly does love Swanilda. They join the other happy couples in the village square to be married and benefit from the Lord of the Manor's generosity. The couples are each married in turn by the village pastor, and all dance happily, with Franz and Swanilda surely the happiest of them all. Coppelius then arrives, demanding compensation for the insult perpetrated against him. Swanilda offers her dowry, but the Lord steps in and bids her keep her gift, giving Coppelius another bag of gold from his own pocket. Satisfied, Coppelius leaves and the festivities continue, everyone joining in the dancing to celebrate the union of Franz and Swanilda and the other young couples.
Coppelia is one of the happiest of romantic ballet's, as well as the best known comedy ballet. An endearing story with beautiful music and first class choreography it provides an ideal introduction for the ballet novice as well as a treat for the experienced enthusiast. It was performed on this occasion by Moscow Ballet la Classique, which is a moderate sized company but with a wealth of artistic talent as would expect from any company drawing its dancers from the Russian academies.
A varied piece, the first act defines much of the story, the second encompasses much of the comedic element (with the girls antics inside the workshop) and the third rounds of the whole with the best of the solo dances and pas de deux. The story also encompasses strong elements of pantomime and folk dance to add to the interest.
The sets for the two scenes consisted mainly of layered painted backdrops. For the first and third acts, the exterior of Coppelius house was a canvas covered frame with door below and balcony above. For the workshop inside Coppelius house in act two, a painted backdrop has openings to the balcony beyond with various props in front. The costumes were many and varied and all beautifully made. The costumes for the (Ukrainian?) folk dancing are especially striking with the girls red skirts and boots.
Anna Kostina as Swanilda approached the role with a childlike sense of mischief which was especially endearing. Her Swanilda was a feisty, sassy creature that one could not help warming to instantly. Her dancing was superb and faultless, at one point completing a sequence of around two dozen pirouettes in sequence and hardly straying from place. Nikolay Olyunin as Franz was tall, handsome and energetic although the choreography was not generally too demanding of him. The main romantic pas de deux between these two was reserved to the wedding celebrations near the end. None of the other roles could be identified from the programme due to the lack of a cast list and/or photo's in the programme of any other than the principals to identify cast members from. Coppelius was a pantomimic role rather than a dancing one but was performed to great effect. Special mention should also be made of the soloists who performed "The Dawn of a New Day" and the "Call to Prayers" in the final act, both of whom were magnificent.
Beautiful music, stunning costumes, first class performances, a must-see production of the popular classic.