Coppelia composer. Classical ballet "Coppelia." Music by Leo Delibes

I rewatched it out of curiosity two productions of Delibes’ wonderful ballet “Coppelia”: Mariinsky 1993 and Bolshoi 2011.

March 24, 1992 - Mariinsky Theater, choreographer O.M. Vinogradov, artist V.A. Okunev (scenery), I. I. Press (costumes), conductor A. Vilumanis; Coppelius - P. M. Rusanov, Coppelia - E. G. Tarasova, Svanilda - L. V. Lezhnina, Irina Shapchits. Franz - Mikhail Zavyalov.

March 12, 2009 The Bolshoi Theater production, staged by Sergei Vikharev, repeats his 2001 Novosibirsk attempt 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.

Amazing metamorphoses of the libretto in these two versions! The funny thing is that in Kir.ballet Coppelia is a part, but in the Big Party there is no Coppelia at all, just a doll. Moreover, it is funny that it was the Bolshoi who set the task of this production to revive the original choreography of Marius Petipa. Well, I’ll tell you that I liked Vinogradov’s choreography and approach more.

A few words about ballet. Coppelia is the closest thing in mood and theme to The Nutcracker. Village holidays, dolls, mischievous main character Swanilda and her lover Franz (which continues the glorious tradition of classical ballets, in which the majority male characters- these are unworthy men-rags). If "Bach Fountain", for example, can be compared to an oxygen cocktail, then "Coppelia" is a marshmallow. Sweet, airy, but always wanting to cross the border of cloying.

Moreover, Delibes’ music seemed rather monotonous to me. Not annoying, but monotonous. The plot of the ballet develops in the first two acts, and the third is a village holiday that carries absolutely no meaning. It’s the third act that sometimes seems unreasonably drawn out, but I’ll probably not start with it.

The first act - in the kir.ballet version - is an introduction to Coppelia, her dancing with the villagers, the serenade of Franz and his friends under her window. At the Bolshoi, the first act is a benefit performance for Swanilda. France's friends are somehow indistinguishable from the rest of the corps de ballet, and Swanilda's own friends are twice as many as in the Mariinsky version, plus they don't include any "drama" at all. What I liked about the Mariinsky Theater is that they all play, both the main characters and their friends. The girlfriends were especially hot there. Coppelius, a kind of version of Drosselmeier, is indicated very schematically by the Bolshoi. He doesn't dance at all. The result was some kind of spineless sack of flour, suffering from a penchant for black magic. But in Kir.ballet, Copelius is pure sex (somehow he reminded me of Jack Sparrow, fortunately, in 1993 no one knew about this hero, so it’s not plagiarism). Not only does he have his own choreographic characteristics, he spends 5 times less time on stage than his Moscow counterpart, and at the same time manages to be remembered.

The second act is the quintessence of Coppélia. We find ourselves in the workshop of Coppelius, who is known to create bizarre, lifelike dolls. I’ll say right away that Vinogradov staged the second act 100%. Ballet is not perceived as ballet, it is perceived as an adventure, interesting and unusual. When Swanilda and her friends (who perfectly play out all the emotions that have gripped them) find themselves at Coppelius’s, they immediately begin to explore the space and turn on mechanical toys one by one. My favorite moment in The Nutcracker is when Drosselmeyer shows the children different toys (the dance there is not dance, but a mixture of circus and acrobatics, which greatly enlivens the classical ballet). So in Vinogradov’s version, each doll has its own dance. This is indescribable - very good finds, plus in music it’s mine favorite place. Swanilda eventually finds the Coppelia doll, and when the girls hear Coppelius's footsteps, they dress up in doll costumes so as not to be recognized. A small show by Swanilda-Coppelia, and the second act is cheerfully and lively completed.

What does the classical version of Petipa at the Bolshoi offer us? Swanilda and her eight (!) friends climb into the workshop. Then all the toys begin to dance at once (faceless and monotonous for about 30 seconds), then Coppelius and Franz appear, Coppelius knocks out France to give his soul to the doll, whose dress Swanilda has already changed into. While the old sack of flour is conjuring over the black books, the girl is playing a prank in front of him. long story humanizing the doll. All this time, France lies unconscious on a chair (in general, it should be a shame for the performer of the role of France, he was allowed to dance normally only in the first act). The second act also turns into Swanilda's benefit performance.

The village holiday did not impress me either in the first or in the second version. If Kir.ballet had a set of dances on a village theme (dance with spinning wheels - yeah, what could be more “dynamic”), then at the Bolshoi, the village holiday is a symbolic action denoting changing times of day, all this takes place against the backdrop of huge a clock on which an old man with a scythe sits. Yeah, symbolism-symbolism. But Kir.ballet still had good point, when Coppelius brings out his doll-daughter, and everyone, without taking offense at each other, joyfully merges in the dance of friendship.

In short, marshmallow-marshmallow. Such a fun, beautiful, bright ballet that can and should be shown to children. No murders or debauchery (I immediately remember the “smart” parents who take their 4-5 year old children to our “Tango”, a ballet about a brothel).

And a few more words about the soloists. My favorite of the two casts was Irina Shapchits, the wonderful Swanilda, simply perfect. I won’t talk about technique, the Mariinsky Theater and the Bolshoi Theater are all ok with technique, but Shapnich is an amazing actress. Such character, such enthusiasm! I compared her with the well-known Natalya Osipova from the Bolshoi; if I had not seen Shapchits, I would have sung Osipova’s praises, but in comparison, Osipova did not finish her performance. The French - Lopatin and Zavyalov were somehow not even very memorable.

Act I
Public square in small town on the borders of Galicia. Among the houses painted bright colors, one house - with bars on the windows and a tightly locked door. This is Coppelius's home.

Swanilda approaches Coppelius's house and looks at the windows, behind which a girl sitting motionless is visible; she is holding a book in her hand and appears to be deep in reading. This is Coppelia, daughter of old Coppelius. Every morning you can see her in the same place - then she disappears. She never left the mysterious dwelling. She is very beautiful, and many young people in the city spent long hours under her window, begging her for one look.

Swanilda suspects that her fiancé Franz is also partial to Coppelia's beauty. She tries to attract her attention, but nothing helps: Coppelia does not take her eyes off the book, in which she does not even turn the pages.

Swanilda begins to get angry. She is about to decide to knock on the door when Franz suddenly appears, and Swanilda remains hidden to watch what happens.

Franz heads towards Swanilda's house, but stops indecisively. Coppelia sits by the window. He bows to her. At that moment she turns her head, stands up and returns Franz’s bow. Franz barely had time to send a kiss to Coppelia when old Coppelius opened the window and mockingly watched him.

Swanilda burns with anger against both Coppelius and Franz, but pretends that she did not notice anything. She runs after a butterfly. Franz runs with her. He catches the insect and solemnly pins it to the collar of his dress. Swanilda reproaches him: “What has this poor butterfly done to you?” From reproach to reproach, the girl tells him that she knows everything. He deceives her; he loves Coppelia. Franz tries in vain to justify himself.

The burgomaster announces that tomorrow it is planned big holiday: The ruler gave the city a bell. Everyone crowds around the burgomaster. A noise is heard in Coppelius's house. Reddish light shines through the glass. Several girls move away from this damned house with fear. But this is nothing: the noise comes from the blows of the hammer, the light is the reflection of the fire burning in the forge. Coppelius is an old madman who is constantly working. For what? Nobody knows; and who cares? Let him work if he likes it!..

The Burgomaster approaches Swanilda. He tells her that tomorrow their owner should award a dowry and unite several couples in marriage. She is Franz's fiancée, doesn't she want her wedding to take place tomorrow? “Oh, it’s not decided yet!” - and the young girl, looking slyly at Franz, tells the burgomaster that she will tell him a story. This is a story about a straw that gives away all the secrets.

Ballad of the Ear
Swanilda takes an ear from the sheaf, puts it to her ear and pretends to listen. Then he hands it to Franz - isn’t the spikelet telling him that he no longer loves Swanilda, but has fallen in love with another? Franz replies that he doesn't hear anything. Swanilda then resumes her tests with one of Franz’s friends; he, smiling, says that he clearly hears the words of the ear of corn. Franz wants to object, but Swanilda, breaking the straw before his eyes, says that everything is over between them. Franz leaves in annoyance, Swanilda dances among her friends. The tables have already been prepared, and everyone drinks to the health of the ruler and burgomaster.

Czardas
Coppelius leaves his house and locks the door with a double turn of the key. He is surrounded by young people: some want to take him with them, others force him to dance. The angry old man finally breaks away from them and leaves with curses. Swanilda says goodbye to her friends; one of them notices the key on the ground that Coppelius dropped. The girls invite Swanilda to visit his mysterious house. Swanilda hesitates, but meanwhile she would like to see her rival. "Well then? Let's go in!" - she says. The girls enter Coppelius's house.

Franz appears, carrying a ladder. Rejected by Swanilda, he wants to try his luck with Coppelia. The opportunity is favorable... Coppelius is far away...

But no, because at that moment when Franz leans the ladder against the balcony, Coppelius appears. He noticed the loss of the key and immediately returned to find it. He notices Franz, who has already climbed the first steps, and he runs away.

Act II
A vast room filled with all kinds of tools. Many machines are placed on stands - an old man in a Persian costume, a black man in a threatening pose, a small Moor playing a cymbal, a Chinese man holding a harp in front of him.

The girls emerge from the depths with caution. Who are these motionless figures sitting in the shadows?.. They look at the strange figures that first frightened them so much. Swanilda lifts the curtains by the window and notices Coppelia sitting with a book in her hands. She bows to the stranger, who remains motionless. She talks to her - she does not answer. She takes her hand and steps back in fear. Is this really living creature? She puts her hand on her heart - it doesn't beat. This girl is nothing more than an automaton. This is the work of Coppelius! “Ah, Franz!” Swanilda laughs, “This is the beauty to whom he sends kisses!” She has been avenged in abundance!.. The girls run carefree around the workshop.

One of them, passing near the player on the harp, accidentally touches the spring - the machine plays a bizarre melody. The girls, embarrassed at first, calm down and begin to dance. They find the spring that moves the little Moor; he plays the cymbals.

Suddenly an enraged Coppelius appears. He lowers the curtains hiding Coppelia and rushes to pursue the girls. They slip between his hands and disappear down the stairs. Swanilda hid behind the curtains. That's how I got it! But no, when Coppelius raises the curtain, he only considers Coppelia - everything is fine. He sighs with relief.

Meanwhile, some noise can still be heard... A ladder can be seen in the window, and Franz appears on it. Coppelius does not show himself to him. Franz heads towards the place where Coppelia is sitting, when suddenly he is grabbed by two strong hands. Frightened Franz asks Coppelius to apologize and wants to run away, but the old man blocks his way.

"Why did you sneak in to me?" - Franz admits that he is in love - “I’m not as angry as they say about me. Sit down, let’s have a drink and talk!” Coppelius brings an old bottle and two goblets. He clinks glasses with Franz, then stealthily pours out his wine. Franz finds the wine to have a strange taste, but continues to drink, and Coppelius talks to him with feigned good nature.

Franz wants to go to the window where he saw Coppelia. But his legs give way, he falls into a chair and falls asleep.

Coppelius takes the magic book and studies the spells. Then the pedestal with Coppelia rolls up to the sleeping Franz, puts his hands to the young man’s forehead and chest and, it seems, wants to steal his soul in order to revive the girl. Coppelia rises, makes the same movements, then steps off the first step of the pedestal, then from the second. She walks, she lives!.. Coppelius went mad with happiness. His creation surpasses anything ever created human hand! So she begins to dance, first slowly, then so quickly that Coppelius can barely follow her. She smiles at life, she blossoms...

Waltz of the machine gun
She notices the goblet and brings it to her lips. Coppelius barely manages to snatch it from her hands. She notices a magic book and asks what it says. “It’s an impenetrable mystery,” he replies and slams the book shut. She looks at the machines. “I made them,” says Coppelius. She stops in front of Franz. "And this one?" - “This is also an automatic machine.” She sees the sword and tries the tip at the end of her finger, then amuses herself with piercing the little Moor. Coppelius laughs loudly... but she approaches Franz and wants to pierce him. The old man stops her. Then she turns on him and starts stalking him. Finally, he disarms her. He wants to arouse her coquetry and puts a mantilla on her. This seems to have awakened in the young girl the whole world new thoughts. She is dancing a Spanish dance.

Magnola
Then she finds a Scottish scarf, grabs it and dances a jig.

Jig
She jumps, runs anywhere, throws to the ground and breaks everything that comes to her hand. Decidedly, she is too animated! What to do?..

Franz woke up amid all this noise and tries to collect his thoughts. Coppelius finally grabs the girl and hides her behind the curtains. Then he goes to Franz and drives him: “Go, go,” he tells him, “You are no longer fit for anything!”

Suddenly he hears a melody that usually accompanies the movement of his machine gun. He looks at Coppelia, repeating her sharp movements, and Swanilda disappears behind the curtain. It drives two other machines. “How?” thinks Coppelius, “Did they also come to life on their own?” At that same moment he notices Swanilda in the depths, who runs away with Franz. He realizes that he has become the victim of a joke, and falls exhausted in the midst of his automata, which continue their movements, as if to laugh at the misfortune of their master.

Act III
Meadow in front of the ruler's castle. In the depths hangs a bell, a gift from the owner. An allegorical chariot stops in front of the bell, on which stands a group of people participating in the festival.

The priests blessed the bell. The first couples to be endowed with a dowry and united on this festive day come to greet the ruler.

Franz and Swanilda complete their reconciliation. Franz, having come to his senses, no longer thinks about Coppelia; he knows what kind of deception he was a victim of. Swanilda forgives him and, offering her hand, approaches the ruler with him.

There is a movement in the crowd: old Coppelius has come to complain and asks for justice. They laughed at him: they smashed everything in his home; works of art created with such difficulty are destroyed... Who will cover the loss? Swanilda, who has just received her dowry, voluntarily offers it to Coppelius. But the ruler stops Swanilda: let her keep her dowry. He throws Coppelius a wallet, and while he leaves with his money, he gives a sign for the beginning of the holiday.

Bell Festival
The bell ringer is the first to get off the chariot. He calls for the hours of the morning.

Waltz of the Hours
Morning hours are; Aurora appears after them.

A bell rings. This is the hour of prayer. Aurora disappears, driven away by the hours of the day. These are the hours of work: the spinners and reapers begin their work. The bell rings again. He announces the wedding.

Final divertissement

The source of the plot is E. T. Hoffman’s short story “The Sandman”

Choreographer: Valentin Bartes (Romania)

Stage conductor: Valery Volchenetsky

Production designer: Alexey Ambaev

Costume designer: Gianluca Saitto (Italy)

Lighting designer: Konstantin Nikitin (Moscow)

Tutors – Tatyana Murueva, Bayarto Dambaev, Larisa Bashinova, Elena Dambaeva, Olga Ivata

Duration - 2 hours 15 minutes

HISTORY OF CREATION

The composer began working on the ballet “Coppelia,” which became a milestone in Delibes’ work, in 1869, after he showed his talent and ingenuity by writing divertissement music for Adam’s ballet “Corsair” and creating “Sylvia,” which P.I later admired. . Tchaikovsky. The ballet was written based on a libretto by Charles Louis Etienne Nuiter ( real name Treuinet, 1828-1899), famous French librettist and writer, long-time archivist of the Grand Opera, author of the texts of many operas and operettas, in particular the Offenbach operettas. The initiator of the creation of the ballet, choreographer Arthur Saint-Leon (real name Charles Victor Arthur Michel, 1821-1870), also took part in the work on the libretto of Coppelia.

Saint-Leon was a multi-talented person. He made his debut almost simultaneously as a violinist (in 1834 in Stuttgart) and as a dancer (in 1835 in Munich), and then for more than ten years he performed as a leading dancer on the stages of many European cities. In 1847, Saint-Leon began working as a choreographer at the Paris Academy of Music (later the Grand Opera), in 1848 he staged his first ballet production in Rome, and in 1849 he began working in St. Petersburg, where he staged 16 ballets over 11 years. It is noteworthy that he began to involve newcomers to this genre in writing ballet music, in particular Minkus and Delibes. An excellent musician with an amazing memory, Saint-Leon also staged ballets based on his own music (“The Devil’s Violin,” “Saltarello”), in which he himself performed violin solos, alternating violin playing with dancing. By the time, together with Delibes and Nuiter, Saint-Leon began creating Coppelia, he was already a prominent maestro who enjoyed well-deserved authority.

The plot of “Coppelia” is based on the short story “The Sandman” (1817) by the famous romantic writer and musician E. T. A. Hoffmann (1776-1822), which tells the story of a young man who fell in love with a mechanical doll made by the skilled craftsman Coppelius. Unlike Hoffmann's novella with its inherent mystic features, this side was practically discarded in the ballet. The librettists created an entertaining comedy based on a fleeting quarrel and reconciliation between lovers. "Coppelia" became Saint-Leon's swan song - he died two months after the premiere.

The premiere of Coppelia, choreographed by A. Saint-Leon, took place on May 25, 1870 on the stage of the Grand Opera Theater in Paris. Great success, which befell Coppelia at the premiere, accompanies this ballet to this day - it is performed on many stages around the world, being a classic of the genre. In Russia it was first staged on January 24, 1882 at the Moscow Bolshoi Theater by J. Hansen, who followed the choreography of Saint-Leon. Almost three years later, on November 25, 1884, the premiere of “Coppelia” took place at the capital’s Mariinsky Theater, choreographed by the famous M. Petipa (1818-1910). There is also a version by A. Gorsky (1871-1924), performed at the Bolshoi Theater in 1905.

Act I
A public square in a small town on the borders of Galicia. Among the houses painted with bright colors, there is one house with bars on the windows and a tightly locked door. This is Coppelius's home.

Swanilda approaches Coppelius's house and looks at the windows, behind which a girl sitting motionless is visible; she is holding a book in her hand and appears to be deep in reading. This is Coppelia, the daughter of old Coppelius. Every morning you can see her in the same place - then she disappears. She never left the mysterious dwelling. She is very beautiful, and many young people in the city spent long hours under her window, begging her for one look.

Swanilda begins to get angry. She is about to decide to knock on the door when Franz suddenly appears, and Swanilda remains hidden to watch what happens.

The burgomaster announces that a big holiday is planned for tomorrow: the ruler presented the city with a bell. Everyone crowds around the burgomaster. A noise is heard in Coppelius's house. Reddish light shines through the glass. Several girls move away from this damned house with fear. But this is nothing: the noise comes from the blows of the hammer, the light is the reflection of the fire burning in the forge. Coppelius is an old madman who is constantly working. For what? Nobody knows; and who cares? Let him work if he likes it!..

Czardas
Coppelius leaves his house and locks the door with a double turn of the key. He is surrounded by young people: some want to take him with them, others force him to dance. The angry old man finally breaks away from them and leaves with curses. Swanilda says goodbye to her friends; one of them notices the key on the ground that Coppelius dropped. The girls invite Swanilda to visit his mysterious house. Swanilda hesitates, but meanwhile she would like to see her rival. “Well then? Let's go in! " - she says. The girls enter Coppelius's house.

Franz appears, carrying a ladder. Rejected by Swanilda, he wants to try his luck with Coppelia. The opportunity is favorable... Coppelius is far away...

The girls emerge from the depths with caution. Who are these motionless figures sitting in the shadows?.. They look at the strange figures that first frightened them so much. Swanilda lifts the curtains by the window and notices Coppelia sitting with a book in her hands. She bows to the stranger, who remains motionless. She talks to her - she does not answer. She takes her hand and steps back in fear. Is this really a living creature? She puts her hand on her heart - it doesn't beat. This girl is nothing more than an automaton. This is the work of Coppelius! “Ah, Franz! - Swanilda laughs, “That’s the beauty he sends kisses to!” She has been avenged in abundance!.. The girls run carefree around the workshop.

Meanwhile, some noise can still be heard... A ladder can be seen in the window, and Franz appears on it. Coppelius does not show himself to him. Franz heads towards where Coppelia is sitting when suddenly two strong hands grab him. Frightened Franz asks Coppelius to apologize and wants to run away, but the old man blocks his way.

“Why did you sneak in to me?” - Franz admits that he is in love - “I’m not as angry as they say about me. Sit down, let’s have a drink and talk!” Coppelius brings an old bottle and two goblets. He clinks glasses with Franz, then stealthily pours out his wine. Franz finds the wine to have a strange taste, but continues to drink, and Coppelius talks to him with feigned good nature.

Franz wants to go to the window where he saw Coppelia. But his legs give way, he falls into a chair and falls asleep.

Coppelius takes the magic book and studies the spells. Then the pedestal with Coppelia rolls up to the sleeping Franz, puts his hands to the young man’s forehead and chest and, it seems, wants to steal his soul in order to revive the girl. Coppelia rises, makes the same movements, then steps off the first step of the pedestal, then from the second. She walks, she lives!.. Coppelius went mad with happiness. His creation surpasses anything that human hand has ever created! So she begins to dance, first slowly, then so quickly that Coppelius can barely follow her. She smiles at life, she blossoms...

Waltz of the machine gun
She notices the goblet and brings it to her lips. Coppelius barely manages to snatch it from her hands. She notices a magic book and asks what it says. “It’s an impenetrable mystery,” he replies and slams the book shut. She looks at the machines. “I made them,” says Coppelius. She stops in front of Franz. “And this one?” - “This is also an automatic machine.” She sees the sword and tries the tip at the end of her finger, then amuses herself by piercing the little Moor. Coppelius laughs loudly... but she approaches Franz and wants to stab him. The old man stops her. Then she turns on him and starts stalking him. Finally, he disarms her. He wants to arouse her coquetry and puts on her mantilla. This seemed to awaken a whole new world of thoughts in the young girl. She is dancing a Spanish dance.

Magnola
Then she finds a Scottish scarf, grabs it and dances a jig.

Jig
She jumps, runs anywhere, throws to the ground and breaks everything that comes to her hand. Decidedly, she is too animated! What to do?..

Suddenly he hears a melody that usually accompanies the movement of his machine gun. He looks at Coppelia, repeating her sharp movements, and Swanilda disappears behind the curtain. It drives two other machines. "How? - thinks Coppelius, “Did they also come to life on their own?” At that same moment he notices Swanilda in the depths, who runs away with Franz. He realizes that he has become the victim of a joke, and falls exhausted in the midst of his automata, which continue their movements, as if to laugh at the misfortune of their master.

Act III
Meadow in front of the ruler's castle. In the depths hangs a bell, a gift from the owner. An allegorical chariot stops in front of the bell, on which stands a group of people participating in the festival.

The priests blessed the bell. The first couples to be endowed with a dowry and united on this festive day come to greet the ruler.

Bell Festival
The bell ringer is the first to get off the chariot. He calls for the hours of the morning.

Waltz of the Hours
Morning hours are; Aurora appears after them.

Final divertissement

According to the “Program of Ballets of the Imperial St. Petersburg. theaters, 1894"
(From the collection of St. Petersburg. State Museum theatrical and musical arts)

"Coppelia, or the Girl with blue eyes" - pantomime ballet to the music of Leo Delibes in two acts, three scenes. Writers C. Nyitter, A. Saint-Leon (after E. Hoffmann), choreographer A. Saint-Leon, artists C. Cambon, E. Desplechin, A. Lavastre, A. Albert.

Characters:

Coppelius
Coppelia
Swanilda
Franz
Burgomaster
Swanilda's friends, girls and boys, townspeople, automatic dolls

The action takes place in a small town on the border of Galicia in the era of Hoffmann (the turn of the 18th - 19th centuries).

History of creation

The composer began working on the ballet Coppelia, which became a milestone in Delibes' work, in 1869, after he had shown his talent and ingenuity by writing the divertissement music for Adam's ballet Le Corsaire and creating Sylvia, which Tchaikovsky later admired. The ballet was written based on a libretto by Charles Louis Etienne Nuiter (real name Treuinet, 1828-1899), a famous French librettist and writer, long-time archivist of the Grand Opera, author of the texts of many operas and operettas, in particular the Offenbach operettas. The initiator of the creation of the ballet, choreographer Arthur Saint-Leon (real name Charles Victor Arthur Michel, 1821-1870), also took part in the work on the libretto of Coppelia.

Saint-Leon was a multi-talented man. He made his debut almost simultaneously as a violinist (in 1834 in Stuttgart) and as a dancer (in 1835 in Munich), and then for more than ten years he performed as a leading dancer on the stages of many European cities. In 1847, Saint-Leon began working as a choreographer at the Paris Academy of Music (later the Grand Opera), in 1848 he staged his first ballet production in Rome, and in 1849 he began working in St. Petersburg, where he staged 16 ballets over 11 years. It is noteworthy that he began to involve newcomers to this genre in writing ballet music, in particular Minkus and Delibes. An excellent musician with an amazing memory, Saint-Leon also staged ballets to his own music (“The Devil’s Violin”, “Saltarello”), in which he himself performed violin solos, alternating violin playing with dance. By the time, together with Delibes and Nuiter, Saint-Leon began creating Coppelia, he was already a prominent maestro who enjoyed well-deserved authority.

The premiere of Coppelia, choreographed by A. Saint-Leon, took place on May 25, 1870 on the stage of the Grand Opera Theater in Paris. The great success that befell Coppelia at the premiere accompanies this ballet to this day - it is performed on many stages around the world, being a classic of the genre. In Russia it was first staged on January 24, 1882 at the Moscow Bolshoi Theater by J. Hansen, who followed the choreography of Saint-Leon. Almost three years later, on November 25, 1884, the premiere of “Coppelia” took place at the capital’s Mariinsky Theater, choreographed by the famous M. Petipa (1818-1910). There is also a version by A. Gorsky (1871-1924), performed at the Bolshoi Theater in 1905.

Plot

The area of the German town. In the window of one of the houses you can see the figure of a girl sitting with a book. This girl never goes out, but her extraordinary beauty attracts everyone. Many young men, who consider her the daughter of Master Coppelius, not only look at her, but sometimes try to break into the house, the doors of which are always locked. Swanilda, Franz's fiancée, suspects that her fiancé is also infatuated with Coppelia. She arrives at Coppelius's house at the very moment when Franz appears on the square. Swanilda is hiding. Franz is trying to attract the attention of a mysterious girl. He bows to her, she returns the bow. Coppelius mockingly watches what is happening from another window. Swanilda, trying to appear carefree, runs out of her hiding place after a flying butterfly. Franz, seeing the bride, catches a butterfly and pins it to his jacket. Swanilda is outraged by his cruelty. Franz tries to justify himself, but Swanilda refuses to listen.

The square is filled with people. The burgomaster announces that tomorrow there will be a holiday in honor of the raising big bell to the city bell tower. Approaching Swanilda, the burgomaster asks if she would like her wedding to Franz to take place tomorrow. The girl replies that it’s all over between them. Franz, disgruntled, leaves the square. Gradually the townspeople disperse. Night is coming. Coppelius goes to a nearby tavern. Swanilda can’t say goodbye to her friends. One of them notices the key dropped by Coppelius. The girl invites Swanilda to enter the mysterious dwelling. Captivated by curiosity and jealousy, she agrees. And then the door is open, a flock of girls disappears behind it. Franz appears in the empty square. Rejected by his bride, he wants to try his luck differently. Maybe Coppelia will agree to run away with him? Franz brings a ladder and places it on the balcony. At this moment Coppelius returns, having discovered the loss of the key. Franz barely manages to escape.

In Coppelius's workshop girls look at numerous books, weapons, machine guns made by a master. Behind the curtain they notice Coppelia sitting with a book in her hand. Swanilda approaches her, takes her hand and discovers that it is a doll. Cheerful girls press the springs of automatic dolls - an old man, a black man, a Chinese, a Moor. They start to move. Swanilda hides behind the curtain: she decided to change into Coppelia's dress. Coppelius enters and drives away the pranksters. Franz appears at the window. Coppelius grabs him. Franz admits that he is in love with a girl whom he considers Coppelius' daughter. The old man invites Franz to have a drink with him. The young man drinks wine laced with sleeping pills and falls asleep. Coppelius wants to transfer Franz's life to the doll. He opens the magic book and casts spells. Coppelia rises from her seat and takes her first hesitant steps. Coppelius is delighted with the imaginary doll. Her gait becomes easier, she begins to dance, first slowly, then faster. A Spanish dance with a mantilla follows, then a fiery gig with a Scottish scarf. Coppelius wants to stop the runaway doll, but she eludes him. Having woken Franz, Coppelius sends him out. Franz does not understand what happened to him. His surprise increases even more when Swanilda comes out from behind the curtain and carries him down the stairs. Coppelius rushes behind the curtain and sees a naked doll lying on the floor. How he was deceived! He sobs among the automata, which continue to make bizarre movements.

On the square among the festive crowd reconciled Franz and Swanilda. Coppelius turns to the burgomaster for justice: his house is destroyed, the automatic toys are broken. It requires coverage for losses. Swanilda offers Coppelius her dowry, but the burgomaster throws the old man a wallet and gives the signal to begin the holiday. The bell rings, announcing the dawn. Aurora appears surrounded by wildflowers. New strikes of the bell call for prayer. Aurora disappears. The bell strikes again - wedding ringing. Hymen and Cupid symbolize happy marriage. The sounds of the alarm bell are heard. This is war, strife. Weapons are raised, the sky is ablaze with the glow of a fire. But the bell sounds solemnly again: peace has been returned.

Music

Ballet music is poetic, emotionally expressive, figurative and plastic. It contains elements of symphonization, and clearly contrasts the world of living human feelings and the world of soulless mechanisms-dolls. In foreign studies, it is Delibes, and not Tchaikovsky, who is considered the reformer of ballet music. The composer skillfully uses leitmotifs that characterize the main characters, which also contributes to dramatic unity.

Ballet dances are permeated with elements of pantomime, which holds the action together, creating a line of unified musical and dramatic development. In some dances (Polish mazurka, Hungarian csardas, Scottish jig, etc.), the composer uses the features of national folklore. Academician Asafiev’s words about Delibes most apply to “Coppelia”: “As a person gifted with taste, flair and wealth of melodic, harmonic and instrumental invention, he created ballets absolutely amazing in their grace and elegance of style, brilliance and at the same time clarity of expression , in which the complete perfection of a precise and strict thematic pattern is combined with a flexibly developed dance rhythm and a wealth of invention in the field of instrumental color.”

The composer most vividly depicts the image of Swanilda, capricious, playful, thoughtful, and tender. Swanilda's Waltz from Act I is the most famous number of the ballet, often performed on the concert stage in a vocal version.

L. Mikheeva

Coppelia is one of the most popular classical ballets in the world. Almost every ballet company from Copenhagen to Melbourne has or has had this cheerful, festive performance in its repertoire. “Coppelia” owes its popularity primarily to the music of Leo Delibes (1836-1891), the author of a number of ballets and operas, including the famous “Lakmé”. It is known that P. Tchaikovsky and A. Glazunov admired Delibes’ music.

Academician Boris Asafiev testified: “‘Coppelia’, and six years later ‘Sylvia’, decisively brought ballet music to the forefront new way. Delibes created ballets absolutely amazing in their grace and elegance of style, brilliance and at the same time clarity of expression, in which the complete perfection of a precise and strictly thematic design is combined with a flexibly developed dance rhythm and a wealth of invention in the field of instrumental color.” The music of “Coppelia” has long lived its own life, sometimes unrelated to the theatrical stage. Excerpts from it are heard on the radio, played in concerts and recorded on discs.

The ballet script belongs to the writer Charles Nuiter and choreographer Arthur Saint-Leon. Using motifs from a number of short stories by Ernst Theodor Amadeus Hoffmann (“Sandman”, “Automata” and others), the authors masterfully transformed the gloomy fantasies of the famous German romantic into a not too complicated plot, in which numerous comedic situations are shaded with light irony and a grin. The main character of the ballet was not the eccentric master of mechanical dolls Coppelius, but the energetic and resourceful girl Swanilda, who, with her hands and, as is customary in ballet, with her feet, achieves her personal happiness. Note that during various productions of Coppelia, the main plot points remained, as a rule, unchanged, which does not happen so often in the ballet theater.

The original choreography was composed by Saint-Leon, one of the greatest choreographers of the nineteenth century and at the same time a professional violinist, the author of a number of musical works. His entire short life (he died in September 1870) was spent on the road. He staged ballets in London and Rome, Berlin and Madrid, Vienna and Lisbon. Since 1859, he spent 11 years in Russia, staging, among other things, the ballet “The Little Humpbacked Horse” on the St. Petersburg stage. The choreographer enriched the classic and characteristic dance with new expressive means, was a master of composing a wide variety of variations. First of all, women's, since at that time in Europe men's dance was so out of favor that at the premiere the role of Franz was performed by Mademoiselle E. Fiocre. This may be why the original choreography of “Coppelia” has not been preserved.

But subsequent productions rained down like from a cornucopia. The Belgian choreographer Joseph Hansen staged “Coppelia” (after Saint-Leon) in Brussels already in 1871, and in 1882 in Moscow. In 1884 in St. Petersburg, Marius Petipa, preserving in detail original script, composed new dances for the “girl with blue eyes”. Critics noted Varvara Nikitina, who created “a very sweet, poetic and affectionate image of Svanilda.” Her partners were also suitable for her - Pavel Gerdt (Franz) and Timofey Stukolkin (Coppelius). Ten years later, Enrique Cecchetti updated Petipa’s production for Pierina Legnani. The performance ran until 1926, and only one ballerina danced Svanilda - Matilda Kshesinskaya, Olga Preobrazhenskaya, Anna Pavlova, Vera Trefilova, Elena Smirnova and Elena Lukom. In Moscow, Alexander Gorsky staged his “Coppelia” in 1905. She shone in the main roles famous family: Ekaterina Geltser (Svanilda), her husband Vasily Tikhomirov (Franz) and father Vasily Geltser (Coppelius). There, at the Bolshoi Theater, this production was updated in 1924 and 1948, and in 1977 for the Moscow Art Theater.

Since the mid-1920s, not only “Coppelia” disappeared from the stage of the former Mariinsky Theater - there was no place for other “frivolous” performances in the theater, which was actively patronized by local authorities. They were sheltered by the less official scene of Maly opera house. “Coppelia” was staged here several times: in 1934 (choreographer Fyodor Lopukhov), in 1959 (choreographer Nina Anisimova) and in 1973 (choreographer Oleg Vinogradov).

The last of them was interesting for a number of reasons; it was not for nothing that it was shown to viewers 167 times. with In it for the first time in hundred years of history Delibes' ballet was danced by a mechanical doll. According to the choreographer's plan, her virtuoso plasticity in its own way should contrast with the dance of living heroes. Coppelius is not a sinister madman or a funny and pathetic old man. He is a master of his craft. Coppelius made his best creation - the “girl with blue eyes” - to test his talent (will no one guess that this is just a dancing mannequin?) and to test the truth of human feelings. The last picture of the festival of urban artisans was unfolded in the form of a grandiose choreographic suite. Here, following the behests of Saint-Leon and Petipa, the characteristic dance set off and enriched the classical dance. This is a kind of hymn to creative constructive work, in which the pride of city craftsmen, the dignity of consummate master Coppelius and at the same time the joy of the performers, with honor overcoming the difficulties of their difficult but wonderful profession.

A. Degen, I. Stupnikov

Coppelia composer. Classical ballet "Coppelia." Music by Leo Delibes

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