Delibes appreciated the folk music of eastern Europe. He wrote both a Polish dance called the mazurka, and an Hungarian dance called the czardas for the ballet. Delibes's czardas was the first written for a ballet. Other ethnic music in the ballet include a Spanish bolero and a Scottish jig. Frantz has no solo dance in the original ballet because a woman played the part. A pas de deux for Frantz and Swanhilda was not possible for the same reason. The pas de deux now in the ballet was the addition of Marius Petipa. He put a pas de deux in the ballet when he rearranged the music for his 1884 St Petersburg production.
Lincoln Kirstein describes the music as "sprightly" and the "most durable since Adam's "Giselle"". Dance music had become the "miserable servant" of the dance, Kirstein points out, until Delibes's colorful, rhythmically varied, and richly orchestrated "Coppélia". While the music did little to change dance design itself, he writes, it did provide a criterion for future ballet music.
The critic of "Le Figaro" wrote on 28 May 1870, "M. Léo Delibes has composed for the three scenes of "Coppélia" a distinguished, piquant, and colorful score, excellently orchestrated ... It is very difficult to write for legs with a little artistry, taste, and style. For instance, ballets such as "Giselle" are not improvised by the dozen. M. Delibes has avoided the commonplace in a piece where it has every right to succeed."
The critic of "Le Ménestrel" wrote about Bozzacchi on 29 May 1870, "The title of child prodigy should be devised for her had it had not been abused in so many other cases; although scarcely fifteen years old she is already a very skillful dancer, what is better still in our opinion, she is a graceful and a witty actress; add to that a well-proportioned, dainty little body, and that she bids fair to have the prettiest features in the world. If she fulfills all her first promises, she will be a power in her profession."
"Coppelia" was, and still is, very popular. The Paris Opéra Ballet has performed "Coppelia" 711 times over 90 years. In 1996, Patrice Bart created a new version of the ballet. He went back to Hoffmann's fairy tale. In the process, he brought some psychological depth to the ballet's characters. He even put one of Hoffmann's original characters, Professor Spalanzani, into his new version. Bart also used music from Delibes's operas "Le Roi l'a dit" and "Lakmé".
"Coppélia" was first performed in England at the Empire Theatre in London on 14 May 1906. Adeline Genée danced Swanhilda. The Royal Ballet first staged "Coppélia" in 1933. This staging was Nicholas Sergeyev's version based on the 19th century revision by Lev Ivanov and Enrico Cecchetti. Dame Ninette de Valois danced Swanilda in Sergeyev's 1933 version. In 1954, de Valois created her own version based on the Russian versions of "Coppélia".
"Coppélia" was first performed in Russia in 1884. Marius Petipa adapted the original choreography for this production. In 2009, Sergei Vikharev reconstructed "Coppélia" for the Bolshoi Ballet from the Mariinsky Theatre records of 1894. This version featured new designs and 24 dancers in the "Dance of the Hours". Vikharev's version was staged in London in 2010 as part of the Bolshoi's summer tour.
"Coppélia" was first performed in the United States by the American Opera Company at the Metropolitan Opera in New York City on 11 March 1887. Marie Giuri danced Swanhilda and Felicita Carossa danced Frantz. Anna Pavlova made her American debut in the role of Swanhilda at the Metropolitan Opera on 28 February 1910. George Balanchine and Alexandra Danilova choreographed a version of "Coppélia" in 1974. Their production used the traditional story in the first two scenes, but dropped the third scene's "Dance of the Hours" for a general celebration of ballet.
"Coppelia" was first performed in Australia in Melbourne in 1913. Adeline Gennée and members of the Imperial Russian Ballet performed the ballet on the opening night of their Australian tour. This version was produced by Alexandre Volonine, and was supplemented with music by C. J. M. Glaser.
The first Australian production premiered in 1931 in Sydney, Australia. This production was designed and staged by Louise Lightfoot and performed by the First Australian Ballet. Australian ballet lovers then saw selections from the ballet as well as complete, full length productions by both Australian and foreign companies in the following decades.
A version of "Coppélia" was staged by the National Ballet of China in Beijing in 2002. The dances for this production were designed by Par Isberg. The production opened at the Tianqiao Theatre on 1 May 2002. Wang Qiming played Coppélia. The production stayed close to the original, but the story was simplified and made modern. Costumes included jeans for men and short, tight skirts for women. Some of the women danced on roller skates.
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Baroque
Éamon de Valera