Coppélia : ballet en trois actes

The Resource Coppélia : ballet en trois actes
Label
Coppélia : ballet en trois actes
Title remainder
ballet en trois actes
Statement of responsibility
a production Bel Air Media, Mezzo ; in association with M_Media, the State Academic Bolshoi Theatre of Russia ; in partnership with Pathé Live ; with the participation of France Télévisions, NHK ; music, Léo Delibes ; libretto by Charles Nuitter, Arthur Saint-Léon ; produced by François Duplat ; filmed by Isabelle Julien
Contributor
Choreographer
Composer
Conductor
Dancer
Film director
Film producer
Performer
Production company
Publisher
Subject
Genre
Summary
Léo Delibes's Coppélia is not only a collection of fine dances. It is primarily an abrasive and sardonic comedy, which is somewhat unusual in the world of classical ballet. But most importantly, it is a comedy for which excellent music was composed. Pyotr Ilyich Tchaikovsky's assessment of Delibes's ballet scores, allegedly capable of overshadowing the choreography itself, is well known: "What beauty, what elegance, what richness of melody, rhythm and harmony!" It is not fortuitous that music from this ballet should be performed, for its own merits, during concerts. Funnily enough, the main theme of this light-hearted ballet is taken from E.T.A. Hoffmann's anything but joyful novellas - mainly from The Sandman. In Hoffmann's tale, the young man's infatuation with the doll ends tragically, while in the ballet, the lively and energetic Swanilda (Frantz's fiancée) is able to over wit the old Coppélius, the cunning inventor of the "Girl with the enamel eyes" and free her lover from the doll's poisonous charm. Coppélia was premiered in 1870 at the Paris Opera on choreographer Arthur Saint-Léon's initiative. A virtuoso dancer, Saint-Léon was Marius Petipa's predecessor as Head of the Petersburg Ballet. His interest in folk culture, music and dance, is mainly responsible for the appearance in the music score of such a rich "selection" of dance melodies based on folklore, and especially Slavic and Eastern European themes. A few years later, Marius Petipa and Enrico Cecchetti brought the ballet "back" to the Russia that had proved such a vivid source of inspiration for its librettist, and adapted the choreography for the Russian stage. However, this new version fell out of interest during the XXth century, until Sergey Vikharev and Pavel Gershenzon's revival in 2009. It is here interpreted by the Bolshoi Ballet's finest dancers: Margarita Shrayner is the witty Swanilda, and Artem Ovcharenko the love-sick Frantz
Member of
Cataloging source
AU@
Characteristic
videorecording
Credits note
Choreography, Sergey Vikharev after Mariius Petipa and Enrico Cecchetti ; Orchestra of the State Academic Bolshoi Theatre ; conductor, Pavel Sorokin
Date time place
Bolshoi Theatre - Moscow. 06/2018
PerformerNote
Principal dancers, Margarita Shrayner, Artem Ovcharenko, Alexay Loparevich ; Corps de Ballet of the State Academic Bolshoi Theatre
Runtime
99
Target audience
general
Technique
live action
Structured data from the Bibframe namespace is licensed under the Creative Commons Attribution 4.0 International License by Portland Public Library. Additional terms may apply to data associated with third party namespaces.