With this month’s Behind the Ballet, I wanted to dig a little deeper into one of my favourite ballets that really isn’t that well-known anymore. Comedic ballets are often dismissed or treated as childlike, but they often have wonderful stories and are incredibly entertaining. (I am always a fan when someone can enjoy a ballet knowing nothing about it, and this is one of those cases…) They are also the source of some of ballet’s most iconic roles, like that of Swanhilda and the doll. So without further any further adieu, let’s dive into Behind the Ballet: Coppélia!
Synopsis of Coppélia Ballet
From the English National Ballet:
Act I
A village square in Galicia Swanilda, the burgomaster’s daughter is betrothed to Franz, a handsome young villager. On the eve of their wedding she has cause to doubt the seriousness of his affections when she finds him ogling at a beautiful girl sitting on the balcony of Dr Coppélius’ house. Dr Coppélius is a strange, somewhat sinister toymaker whose weird experiments cause much musement. The appearance of the unknown girl causes much interest and speculation, particularly as she has ignored Swanilda’s friendly greetings.
The burgomaster leads in the peasants from the fields and reminds them that the following day will be the harvest festival at which his daughter’s marriage will be celebrated. On seeing that Swanilda and Franz have quarrelled, he produces an ear of corn and suggests that they prove the old legend – if it rattles they will be married. The corn, however, remains silent. After a few tears Swanilda is soon dancing with her friends again. By evening the lovers have made up their quarrel and they tenderly kiss goodnight.
While on his way to the inn, Dr Coppélius is intercepted by a few rowdy youths. After a brief skirmish, they depart and he continues on his way unaware he has dropped his key. Swanilda and her friends observe the strange incident and decide to enter the strange house to meet the beautiful but unfriendly girl. They are soon followed by the agitated Dr Coppélius.
Act II
Swanilda and her friends warily enter the sinister room but soon discover with delight the many charming automatons created by Dr Coppélius and are amused to find the beautiful stranger is also a doll. They are soon interrupted by the irate Dr Coppélius who drives away all the intruders, except Swanilda who is trapped in an alcove.
Franz appears on the balcony and stealthily enters. Dr Coppélius seizes him and, after drugging him, seeks to transfer his life-force to the doll. Not realising that Swanilda has taken the doll’s place, he is overjoyed by his apparent success. But Dr Coppélius is dismayed when Franz revives and all becomes clear. Franz begs Swanilda’s forgiveness and forgives her jealousies. They run out leaving the disillusioned Dr Coppélius alone.
Act III
The villagers assemble for the harvest festival which is celebrated with dances for Swanilda’s and Franz’s wedding feast. The couple lead a procession from the church. Dr Coppélius storms out of his house threatening revenge but the Burgomaster pacifies him with gifts of money and wine. The festivities continue into the night.
A Comedic Success With a Macabre Ending
Coppélia was first staged in Paris in 1870 by the Théâtre Impérial de l’Opéra. Ballet master Arthur Saint-Léon along with composer Léo Delibes set out to create a new ballet; they had worked together previously, and thought to duplicate their success. The new ballet was based on a story by German author ETA Hoffman titled Der Sandmann (aka The Sandman). If that name sounds familiar, it is because he is the author behind the story of The Nutcracker! The role of Swanhilda was created on sixteen year old Italian dancer Giuseppina Bozzacchi who was only 16 at the time, and the audience loved her. Emperor Napoleon III was in the audience on 25 May 1870 and was said to have loved the performance.
However, although the ballet was incredibly popular, the Franco-Prussian War broke out in July. The Opera closed, and dancers were no longer paid. Bozzacchi could not afford to buy food, and grew malnourished and ill. She would not return to the stage and died on her seventeenth birthday.
A Russian Coppélia
As with many ballets, Coppélia was restaged by Marius Petipa for the Imperial Theatre in St. Petersburg. Ballet Master Joseph Hansen staged one version in Moscow in early 1882, but it was Petipa’s Coppélia staged in late 1884 in St. Petersburg that grabbed Russian audiences. Petipa was ill for much of the 1880s and 1890s, and was supported by Lev Ivanov and Enrico Cecchetti. Ballet historians think that it was Cecchetti who led the Imperial version of Coppélia, or at least led all the majority of rehearsals. (And yes, it is that Enrico Cecchetti, behidn the Cecchetti method still used to teach ballet today.)
In the early twentieth century, the Petipa version was recorded using the Stepanov Method of notation (essentially like writing on a sheet of music but instead recording movement rather than notes), and this still provides the basis for many productions to this day.
Why Has Coppélia Been Forgotten?
Interestingly, Coppélia largely seems to be forgotten in the classical ballet canon by audiences. It seems to be limited for professional schools and junior companies, at least in North America. (The Royal Ballet has a wonderful version!) Although it is child-friendly, it certainly is enjoyable for adults, much like The Nutcracker.
I personally find the lack of Coppélia stagings to be disappointing because so few dancers are talented with comedic material. Most dancers can pull off the tragic and sombre Swan Lake or the exciting and playing Sleeping Beauty, but comedy eludes many dancers. I hope that we see more of Coppélia going forward!
Curious about other ballets? You can read more!
Behind the Ballet: Swan Lake
Behind the Ballet: Giselle
Behind the Ballet: Don Quixote
Behind the Ballet: Sleeping Beauty
Behind the Ballet: La Fille mal gardée
Have you seen Coppélia?
Cheers,
The Historian
Facebook | Twitter | Instagram | Pinterest
