Delibes Sylvia & Copelia Suites HRX DVD-R (2 Discs)-Elusive Disc Features the San Francisco Ballet Orchestra lead by Martin West! This disc will NOT play on CD, DVD or SACD Players! HRx 176kH/24-Bit DVD-R - For Music Servers Only! HRx DVD-R data discs contain exact, digit-for-digit copies of the original Reference Recordings 176.4 kHz / 24-bit digital masters. This is the ultimate in fidelity for two-channel sound: TRUE high-resolution audio, ready to load from DVD-R data discs onto your computer music server! To play HRx, the files on the DVD-R data disc must be uploaded to a computer music server, which then will play the music files through your audio system.

(You cannot play them on CD, DVD, or SACD players!!!) Best of Show award for ï¿½Greatest Technological Breakthrough: Reference Recordingsï¿½ HRx ultra-high resolution (176.4/24) digital music format.ï¿½ (Alan Taffel: The Absolute Sound April/May 2008) "Reference Recordings, a company at the forefront of technical advancements for the past 30 years, has broken through the technical barriers to deliver to listeners the exact high-resolution digital bitstreams created during the recording sessions. The company's HRx format encodes as WAV files on a DVD the master recording, which was sampled at 176.4kHz with 24-bit resolution. For the first time, you can listen to the original high-resolution datastream of some spectacular titles from the Reference Recordings catalog." - The Absolute Sound, Robert Harley From liner notes: "In contrast to the "heroic" drama of gods and shepherds, Delibes's earlier ballet Coppï¿½lia, or The Girl with Enamel Eyes, is an ingratiating comedy with a story line that was, and remains, unusually absorbing for its genre.

Charles Nuitter, the archivist of the Paris Opï¿½ra, based his scenario on a story by E.T.A. Hoffmann called Der Sandmann, and his original working title was La Poupï¿½e de Nuremberg ï¿½ which, however had been used for similarly based works by other composers. Like Tchaikovsky's subsequent Hoffmann-derived Nutcracker, this tale combines warm-hearted everyday folk in a contemporary (for its time) setting with a certain level of other-worldly fantasy for spice. Simply stated, the village girl Swanilda is engaged to Frantz; he becomes dazzled by Coppï¿½lia, who turns out to be a mechanical doll whose creator, the mysterious Dr. Coppï¿½lius, has been passing off as his daughter. Good-natured mischief sets the tone for this engaging drama, and its happy ending, while clearly foretold, is not less satisfying for all that." Leo Delibes' COPPï¿½LIA is pure delight, a feast of musicality and humor for all ages. Probably the greatest ballet comedy ever written!

On this disc we also present Delibes' SYLVIA, a romance filled with sighs of longing and the thrill of infatuation. Set in antiquity, the ballet literally places love on a pedestal in the person of the Greek god Eros. Like many popular compositions, Delibes' works, including pieces of these ballets, have repeatedly been used in films dating back to the earliest talkies. His music is also a favorite of cartoon series "Ren and Stimpy" and "The Simpsons." Coppelia is a sentimental comic ballet with music by Leo Delibes. Sylvia, originally Sylvia, ou La nymphe e Diane, is a full-length ballet in two or three acts. Sylvia is a typical classical ballet in many respects, yet has many interesting features which make it unique. Sylvia, the ballet, is notable for its mythological Arcadian setting and remarkable score by Leo Delibes. The Sylvia ballet originates in Tasso's 1573 poem Aminta, which provides the basic plot of Delibes' music. The piano arrangement was composed in 1876 and the orchestral suite was done in 1880.

Conductor Martin West is acknowledged as one of the foremost conductors of ballet, garnering critical acclaim throughout the world. "... what charm, what wealth of melody!" -Tchaikovsky on Delibes Special Note: The 1st Track on the 2nd Disc at 10:10 into the music, there is a scratching sound. This is unfortunately in the recording itself and is not a defect. Features: ï¿½ 2 HRxï¿½ DVD Data Discs containing .wav files. ï¿½ True high resolution music,176.4 kHz/24 bits Musicians: About: Coppélia About: Coppélia An Entity of Type : Event100029378 , from Named Graph : , within Data Space : dbpedia.org Coppélia is a comic ballet originally choreographed by Arthur Saint-Léon to the music of Léo Delibes, with libretto by Charles-Louis-Étienne Nuitter. Nuitter's libretto and mise-en-scène was based upon two stories by E. T. A. Hoffmann: Der Sandmann (The Sandman) and Die Puppe (The Doll).

In Greek, κοπελιά means girl, young lady. Coppélia premiered on 25 May 1870 at the Théâtre Impérial l'Opéra, with the 16-year-old Giuseppina Bozzacchi in the principal role of Swanhilde. Its first flush of success was interrupted by the Franco-Prussian War and the Siege of Paris (which also led to the early death of Giuseppina Bozzacchi, on her 17th birthday), but eventually it became the most-performed ballet at the Opéra. Property abstract Das Ballett Coppélia ou La Fille aux yeux d'émail (deutsch Coppelia oder Das Mädchen mit den Glasaugen) wurde 1870 von Léo Delibes nach einem Libretto von Charles Nuitter und Arthur Saint-Léon komponiert, letzterer erstellte auch die Originalchoreographie. Die Handlung basiert auf E. T. A. Hoffmanns Erzählung Der Sandmann. Die Uraufführung fand am 25.

Mai 1870 an der Pariser Oper statt, mit Eugenie Fiocre als Franz, und war ein triumphaler Erfolg. Bis heute gehört Coppélia zum Standardrepertoire des klassischen Balletts. (de) Coppélia es un ballet sentimental y cómico con coreografía original de Arthur Saint-Léon para un libreto de ballet de Saint-Léon y Charles Nuitter y música de Léo Delibes. Está basado en una historia macabra de E.T.A. Hoffmann titulada "Der Sandmann" ("El hombre de arena"), publicada en 1815. El ballet se estrenó el 25 de mayo de 1870 en la Ópera de París, con Giuseppina Bozzachi en el rol principal. Sus primeros éxitos fueron interrumpidos por la Guerra franco-prusiana y el cerco de París, pero eventualmente pasó a convertirse en el ballet más interpretado en la Ópera Garnier.

El equipo formado por Saint-Léon y Nuittier ya había conseguido un éxito anterior con el ballet La Source (1860), en el que Délibes había contribuido con una parte de la música. La historia trata acerca de un inventor misterioso y pálido, el Doctor Coppélius que tiene una muñeca danzante de tamaño real. Parece tan realista que Franz, un pueblerino se enamora de ella, dejando de lado a su verdadero amor, Swanilde, que en el Acto II le muestra su locura, al vestirse como una muñeca y pretender cobrar vida. Los divertissements festivos para el día del matrimonio en las calles del pueblo que ocupan el Acto III son a menudo eliminados en las versiones danzadas modernas, considerando que una de las entrées tienen las primeras czardas presentado en un ballet. Si el Frankenstein de Mary Shelley representa el lado oscuro del tema del científico como dador de la vida, entonces Coppelia es el lado ligero.

Si Giselle es una tragedia que sucede en un pueblo de campesinos, entonces Coppélia es una comedia en el mismo escenario. La parte de Franz fue danzada en travestie, una convención que agradó a los miembros masculinos del Jockey-Club de Paris y se conservó en París hasta la Segunda Guerra Mundial. De Giuseppina Bozzacchi, la Coppélia original, una joven estudiante de ballet que acababa de cumplir dieciséis años, se esperaba que tuviese una gran carrera delante de ella pero se enfermó de cólera durante el cerco de París y murió en su cumpleaños diecisiete. Alguna influencia sobre esta historia viene de los espectáculos ambulantes de fines del siglo XVIII e inicios del siglo XIX que mostraban a automátas mecánicos. Esta área del entretenimiento ha sido poco documentada, pero una historia reciente sobre este campo está contenida en The Mechanical Turk de Tom Standage (2002).

Estos espectáculos posteriormente influenciaron a Charles Babbage para su invención de la máquina diferencial. (es) Coppélia, ou la Fille aux yeux d'émail est un ballet en deux actes et trois tableaux d'Arthur Saint-Léon, sur un livret de Charles Nuitter, musique de Léo Delibes, d'après le conte d'Hoffmann L'Homme au sable, représenté pour la première fois à l'Opéra de Paris le sous la direction de François Hainl. Le rôle de Swanilda, tenu par Giuseppina Bozzacchi, est devenu un rôle mythique du répertoire classique. Tout comme Giselle, Coppélia est composé sur la structure du leitmotiv, empruntant de nombreux passages au folklore d'Europe centrale : les thèmes slaves et la mazurka y occupent une bonne place, tandis que la csárdás apparaît pour la première fois sur scène.

L'intrigue suit le conte d'Hoffmann L'Homme au sable, dans lequel Frantz est fasciné par la silhouette de Coppélia, aperçue derrière la fenêtre de l'atelier du savant Coppélius. Mais elle s'avère n'être qu'un automate... (fr) Coppélia is a comic ballet originally choreographed by Arthur Saint-Léon to the music of Léo Delibes, with libretto by Charles-Louis-Étienne Nuitter. Nuitter's libretto and mise-en-scène was based upon two stories by E. T. A. Hoffmann: Der Sandmann (The Sandman) and Die Puppe (The Doll). In Greek, κοπελιά means girl, young lady. Coppélia premiered on 25 May 1870 at the Théâtre Impérial l'Opéra, with the 16-year-old Giuseppina Bozzacchi in the principal role of Swanhilde.

Its first flush of success was interrupted by the Franco-Prussian War and the Siege of Paris (which also led to the early death of Giuseppina Bozzacchi, on her 17th birthday), but eventually it became the most-performed ballet at the Opéra. Modern-day productions are traditionally derived from the revivals staged by Marius Petipa for the Imperial Ballet of St. Petersburg in the late 19th century. Petipa's choreography was documented in the Stepanov method of choreographic notation at the turn of the 20th century. These notations were later used to stage the St. Petersburg version for such companies as the Vic-Wells Ballet (precursor of today's Royal Ballet). (en) Coppélia, ou la Fille aux Yeux d'Email (Coppélia o La ragazza dagli occhi di smalto) è un balletto pantomimico in due atti e tre scene, coreografia originale di Arthur Saint-Léon su musica composta da Léo Delibes.

Il libretto di Charles Nuitter e Arthur Saint-Léon è ispirato al primo racconto dei Notturni di Ernst Theodor Amadeus Hoffmann, Der Sandmann (L'uomo della sabbia), pubblicato nel 1815. È l'ultima creazione di Saint-Léon, morto tre mesi dopo la prima rappresentazione. (it) Coppélia - pełny tytuł Coppélia czyli Dziewczyna o szklanych oczach (tytuł oryginalny Coppélia ou la fille aux yeux d'émail) – balet komiczny w 2 aktach, 3 obrazach. Premiera: Paryż, 25 maja 1870, Théatre de l'Opera. Premiera polska: Warszawa, 7 grudnia 1882, Teatr Wielki.

Osoby: (pl) 『コッペリア』（Coppélia）は、動く人形を題材としたバレエ作品、およびその人形の名前。音楽はレオ・ドリーブ、振り付けはアルテュール・サン・レオン。原題は『コッペリア、あるいはの目をもつ乙女』（Coppélia, ou la Fille aux yeux d'émail）である。 (ja) Coppélia é um balé cómico-sentimental com coreografia original de Arthur Saint-Léon, com libreto de Charles Nuitter, e música de Léo Delibes. Baseia-se num conto fantástico de E.T.A. Hoffmann intitulado "Der Sandmann" ("O homem da areia") publicado em 1815. O balé estreou a 25 de Maio de 1870 na Ópera de Paris, com Giuseppina Bozzachi no papel principal.

Um primeiro momento de sucesso foi interrompido pela Guerra Franco-Prussiana e pelo cerco de Paris, tornando-se, posteriormente, o balé mais representado na Opera Garnier. Foi o primeiro balé clássico a incluir danças folclóricas como czardas, mazurcas e polcas, dando cor local e realismo à ação. No Brasil estreou no Theatro Municipal do Rio de Janeiro em 9 de maio de 1918, apresentado pela companhia de Ana Pavlova. (pt) Coppélia, of het meisje met de ogen van glazuur (Frans: Coppélia, ou la fille aux yeux d'émail), vaak ingekort tot Coppélia, is een komisch Romantisch ballet in twee bedrijven. Het ballet vertelt het verhaal van een pop die op mysterieuze wijze tot leven komt. Het Ballet du Théatre bracht het stuk in première op 25 mei 1870 in de Salle Le Peletier te Parijs.

Het libretto werd geschreven door Charles Nuitter naar het verhaal Der Sandmann van de Duitse schrijver Ernst Hoffmann. De oorspronkelijke choreografie is van Arthur Saint-Léon op muziek die Léo Delibes voor het ballet componeerde. Coppélia betekende een opmerkelijke maar kortstondige heropleving van ballet als een kunstvorm in Frankrijk. Onder meer Lev Ivanov, George Balanchine en Roland Petit voorzagen latere producties van het ballet van een nieuwe choreografie. (nl) «Коппелия» (полное название «Коппелия, или Красавица с голубыми глазами», фр. Coppélia) — комический балет французского композитора Лео Делиба. Либретто написано по новелле Э. Гофмана «Песочный человек» Ш. Нюитером (Charles Nuitter) и балетмейстером спектакля А. Сен-Леоном).

Премьера балета состоялась в Парижской Опере («Гранд-Опера») 25 мая 1870, в присутствии Наполеона III и его супруги, императрицы Евгении. Первыми исполнителями были: Сванильда — Джозефина Бозаччи или Боцакки (Giuseppina Bozzacchi), Франц — Э. Фиокр (травести), Коппелиус — Доти; художники Ш. Камбон, Э. Деплетен, Лавастр (декорации), П. Лормье (костюмы). Балет пользуется большой популярностью, его постоянно ставят многие театры мира.

(ru) comment Das Ballett Coppélia ou La Fille aux yeux d'émail (deutsch Coppelia oder Das Mädchen mit den Glasaugen) wurde 1870 von Léo Delibes nach einem Libretto von Charles Nuitter und Arthur Saint-Léon komponiert, letzterer erstellte auch die Originalchoreographie. Die Handlung basiert auf E. T. A. Hoffmanns Erzählung Der Sandmann. Die Uraufführung fand am 25. Mai 1870 an der Pariser Oper statt, mit Eugenie Fiocre als Franz, und war ein triumphaler Erfolg. Bis heute gehört Coppélia zum Standardrepertoire des klassischen Balletts. (de) Coppélia, ou la Fille aux Yeux d'Email (Coppélia o La ragazza dagli occhi di smalto) è un balletto pantomimico in due atti e tre scene, coreografia originale di Arthur Saint-Léon su musica composta da Léo Delibes.

Il libretto di Charles Nuitter e Arthur Saint-Léon è ispirato al primo racconto dei Notturni di Ernst Theodor Amadeus Hoffmann, Der Sandmann (L'uomo della sabbia), pubblicato nel 1815. È l'ultima creazione di Saint-Léon, morto tre mesi dopo la prima rappresentazione. (it) 『コッペリア』（Coppélia）は、動く人形を題材としたバレエ作品、およびその人形の名前。音楽はレオ・ドリーブ、振り付けはアルテュール・サン・レオン。原題は『コッペリア、あるいはの目をもつ乙女』（Coppélia, ou la Fille aux yeux d'émail）である。 (ja) Coppélia é um balé cómico-sentimental com coreografia original de Arthur Saint-Léon, com libreto de Charles Nuitter, e música de Léo Delibes. Baseia-se num conto fantástico de E.T.A.

Hoffmann intitulado "Der Sandmann" ("O homem da areia") publicado em 1815. O balé estreou a 25 de Maio de 1870 na Ópera de Paris, com Giuseppina Bozzachi no papel principal. Um primeiro momento de sucesso foi interrompido pela Guerra Franco-Prussiana e pelo cerco de Paris, tornando-se, posteriormente, o balé mais representado na Opera Garnier. Foi o primeiro balé clássico a incluir danças folclóricas como czardas, mazurcas e polcas, dando cor local e realismo à ação. No Brasil estreou no Theatro Municipal do Rio de Janeiro em 9 de maio de 1918, apresentado pela companhia de Ana Pavlova. (pt) Coppélia is a comic ballet originally choreographed by Arthur Saint-Léon to the music of Léo Delibes, with libretto by Charles-Louis-Étienne Nuitter. Nuitter's libretto and mise-en-scène was based upon two stories by E. T.

A. Hoffmann: Der Sandmann (The Sandman) and Die Puppe (The Doll). In Greek, κοπελιά means girl, young lady. Coppélia premiered on 25 May 1870 at the Théâtre Impérial l'Opéra, with the 16-year-old Giuseppina Bozzacchi in the principal role of Swanhilde. Its first flush of success was interrupted by the Franco-Prussian War and the Siege of Paris (which also led to the early death of Giuseppina Bozzacchi, on her 17th birthday), but eventually it became the most-performed ballet at the Opéra. (en) Coppélia es un ballet sentimental y cómico con coreografía original de Arthur Saint-Léon para un libreto de ballet de Saint-Léon y Charles Nuitter y música de Léo Delibes. Está basado en una historia macabra de E.T.A. Hoffmann titulada "Der Sandmann" ("El hombre de arena"), publicada en 1815.

El ballet se estrenó el 25 de mayo de 1870 en la Ópera de París, con Giuseppina Bozzachi en el rol principal. Sus primeros éxitos fueron interrumpidos por la Guerra franco-prusiana y el cerco de París, pero eventualmente pasó a convertirse en el ballet más interpretado en la Ópera Garnier. (es) Coppélia, ou la Fille aux yeux d'émail est un ballet en deux actes et trois tableaux d'Arthur Saint-Léon, sur un livret de Charles Nuitter, musique de Léo Delibes, d'après le conte d'Hoffmann L'Homme au sable, représenté pour la première fois à l'Opéra de Paris le sous la direction de François Hainl.Le rôle de Swanilda, tenu par Giuseppina Bozzacchi, est devenu un rôle mythique du répertoire classique.

(fr) Coppélia - pełny tytuł Coppélia czyli Dziewczyna o szklanych oczach (tytuł oryginalny Coppélia ou la fille aux yeux d'émail) – balet komiczny w 2 aktach, 3 obrazach.Premiera: Paryż, 25 maja 1870, Théatre de l'Opera.Premiera polska: Warszawa, 7 grudnia 1882, Teatr Wielki.Osoby: (pl) Coppélia, of het meisje met de ogen van glazuur (Frans: Coppélia, ou la fille aux yeux d'émail), vaak ingekort tot Coppélia, is een komisch Romantisch ballet in twee bedrijven. Het ballet vertelt het verhaal van een pop die op mysterieuze wijze tot leven komt. Het Ballet du Théatre bracht het stuk in première op 25 mei 1870 in de Salle Le Peletier te Parijs.

Het libretto werd geschreven door Charles Nuitter naar het verhaal Der Sandmann van de Duitse schrijver Ernst Hoffmann. De oorspronkelijke choreografie is van Arthur Saint-Léon op muziek die Léo Delibes voor het ballet componeerde. (nl) «Коппелия» (полное название «Коппелия, или Красавица с голубыми глазами», фр. Coppélia) — комический балет французского композитора Лео Делиба. Либретто написано по новелле Э. Гофмана «Песочный человек» Ш. Нюитером (Charles Nuitter) и балетмейстером спектакля А. Сен-Леоном).

Премьера балета состоялась в Парижской Опере («Гранд-Опера») 25 мая 1870, в присутствии Наполеона III и его супруги, императрицы Евгении. (ru) coppelia : definition of coppelia and synonyms of coppelia (English) Type comic ballet Coppélia is a sentimental comic ballet with original choreography by Arthur Saint-Léon to a ballet libretto by Saint-Léon and Charles Nuitter and music by Léo Delibes . It was based upon two macabre stories by ETA Hoffmann , Der Sandmann (The Sandman), and Die Puppe (The Doll). The ballet premiered on 25 May 1870 at the Théâtre Impérial de l´Opéra , with the 16-year-old Giuseppina Bozzacchi in the principal role of Swanhilde.

Its first flush of success was interrupted by the Franco-Prussian War and the siege of Paris – which also led to the early death of Giuseppina Bozzacchi, on her 17th birthday – but eventually it became the most-performed ballet at the Opéra Garnier . The team of Saint-Léon and Nuittier had a previous success with the ballet La Source (1860), for which Délibes had composed the music jointly with Ludwig Minkus . Contents Plot Summary Coppélia concerns an inventor, Dr Coppelius, who has made a life-size dancing doll . It is so lifelike that Franz, a village swain, becomes infatuated with it and sets aside his true heart's desire, Swanhilde. She shows him his folly by dressing as the doll, pretending to make it come to life and ultimately saving him from an untimely end at the hands of the inventor. Act I The story begins during a town festival to celebrate the arrival of a new bell. The town crier announces that, when it arrives, anyone who becomes married will be awarded a special gift of money. Swanhilde and Franz plan to marry during the festival.

However, Swanhilde becomes unhappy with Franz because he seems to be paying more attention to a girl named Coppélia, who sits on the balcony of a nearby house. The house belongs to a mysterious and faintly diabolical inventor, Doctor Coppélius. Although Coppélia spends all of her time sitting motionless and reading, Franz is mesmerized by her beauty and is determined to attract her attention. Still upset with Franz, Swanhilde shakes an ear of wheat to her head: if it rattles, then she will know that Franz loves her. Upon doing this however, she hears nothing. When she shakes it by Franz's head, he also hears nothing; but then he tells her that it rattles. However, she does not believe him and runs away heartbroken. Later on, Dr. Coppelius leaves his house and is heckled by a group of boys. After shooing them away, he continues on without realising that he dropped his keys in the melée. Swanhilde finds the keys, which gives her the idea of learning more about Coppélia. She and her girlfriends decide to enter Dr. Coppelius’s house.

Meanwhile, Franz develops his own plan to meet Coppélia, climbing a ladder to her balcony. Act II Swanhilde and her friends find themselves in a large room filled with people. However, the occupants aren't moving. The girls discover that, rather than people, these are life-size mechanical dolls. They quickly wind them up and watch them move. Swanhilde also finds Coppélia behind a curtain and discovers that she, too, is a doll. Dr. Coppelius returns home to find the girls. He becomes angry with them, not only for trespassing but for also disturbing his workroom. He kicks them out and begins cleaning up the mess. However, upon noticing Franz at the window, Coppélius invites him in. The inventor wants to bring Coppelia to life but, to do that, he needs a human sacrifice. With a magic spell, he will take Franz’s spirit and transfer it to Coppélia. After Dr. Coppelius proffers him some wine laced with sleeping powder, Franz begins to fall asleep. The inventor then readies his magic spell. However, Dr. Coppelius did not expel all the girls: Swanhilde is still there, hidden behind a curtain.

She dresses up in Coppelia’s clothes and pretends that the doll has come to life. She wakes Franz and then winds up all the mechanical dolls to aid their escape. Dr. Coppelius becomes confused and then saddened when he finds a lifeless Coppélia behind the curtain. Act III Swanhilde and Franz are about to make their wedding vows when the angry Dr. Coppelius appears, claiming damages. Dismayed at having caused such an upset, Swanhilde offers Dr. Coppelius her dowry in return for his forgiveness. However, Swanhilde's father tells Swanhilde to keep her dowry and offers to pay Dr. Coppelius instead. At that point, the mayor intervenes and gives Dr. Coppelius a bag of money, which placates him. Swanhilde and Franz are married and the entire town celebrates by dancing.

Influence and background Doctor Coppélius is not unlike Hoffmann's sinister Herr Drosselmeyer in " The Nutcracker " or the macabre Svengali -like travelling magician of the same name in Offenbach 's Tales of Hoffmann The part of Frantz was danced en travesti by Eugénie Fiocre , [1] a convention that pleased the male members of the Jockey-Club de Paris and was retained in Paris until after World War II. The festive wedding-day divertissements in the village square that occupy Act III are often deleted in modern danced versions. Some influence on this story comes from travelling shows of the late 18th and early 19th centuries starring mechanical automatons . This field of entertainment has been under-documented, but a recent survey of the field is contained in The Mechanical Turk by Tom Standage (2002). These shows were later to also influence Charles Babbage in his invention of the difference engine .[ citation needed ] Alternative versions A variation of the Coppélia story is contained in Jacques Offenbach 's opera, The Tales of Hoffmann , a fictional work about the same Hoffmann who wrote the story that inspired Coppélia.

The opera consists of a prologue , three fantastic tales in which Hoffmann is a participant, and an epilogue . In the first story, based on Der Sandmann, Hoffmann falls in love with a mechanical doll, Olympia, but in this case, the story takes on a melancholy tinge as the doll breaks apart. Balanchine In 1974 George Balanchine choreographed a version of Coppélia for the New York City Ballet . He was assisted by Alexandra Danilova , who had performed the title role many times during her dancing career. [2] She staged the Petipa choreography for Act II. Balanchine created new choreography for Act III and for the mazurka , czardas and Frantz's variation in Act I. Patricia McBride danced the role of Swanilda; Helgi Tomasson danced the role of Frantz; Shaun O'Brian portrayed Dr. Coppélius. Ballet glockenspiel Popular culture Coppélia was featured in the Danish film Ballerina , shown in two parts in the U.S. on Walt Disney 's Wonderful World of Color in 1966 and later released theatrically in Europe.

Dancer Kirsten Simone played the lead. A movie , The Fantastic World of Dr. Coppelius / El fantástico mundo del doctor Coppelius, was released on December 25, 1968. In the U.S., it was titled Dr. Coppelius . The Spanish production, with the ballet company and orchestra of the Gran Teatro del Liceo of Barcelona, features Walter Slezak as Dr. Coppelius and Claudia Corday in the doll-comes-to-life role, Swanhilda / Coppelia. [3] [4] A scene from the famous ballet film The Red Shoes shows Moira Shearer playing the fictional Victoria Page. Vicky is seen as Swanhilda in the scene in which she pretends to be Coppelia, and fools even Dr. Coppelius. The ballet Coppélia and Giuseppina Bozzacchi's tragic fate are narrated in the novel No Telling (London: Vintage, 2004) by British author Adam Thorpe (*1956). The novel's protagonist, thirteen year-old Gilles, desperately wants to see the ballet because his crush Jocelyne plays a minor part.

He researches into the topic in order to impress Jocelyne, who, sadly, turns out to be fed up with ballet in general and Coppélia in particular. A stage adaptation of Coppélia was presented at the Gene Frankel Theater in 1999. Notes ^ Garafola, Lynn, "The Travesty Dancer in Nineteenth-Century Ballet" in Dance Research Journal, Vol. 17, No. 2 (Autumn, 1985), pp. 35-40. (Also reprinted in Ann Dils and Ann Cooper Albright (eds) Moving History / Dancing Cultures: A Dance History Reader , Wesleyan University Press, 2001, pp. 210-216. ISBN 081956413) Coppélia, ou La fille aux yeux… | Details | AllMusic google+ Description by Rita Laurance The premiere of the ballet Coppélia, on May 25, 1870, at the Paris Opera, was an overwhelming success, and paved the way for the future developments of the classical ballet of the nineteenth century.

Coppélia had been in rehearsal since 1868, and had seen many setbacks. It took Delibes some time to compose the music, and in the meantime, the choreographer was obliged to look for a new prima donna, due to the illness of his lead dancer. Swanilda at the premiere was performed by a prodigy by the name of Giuseppina Bozzacchi. Franz was performed "en travestie" by another female star, Eugenie Fiocre, and Coppélia was played by a real, mechanical doll. Because the male lead was played by a woman dancer, there wasn't a classical pas de deux written for the lovers. Instead, the ballet closes with a divertissement called "Fete del la Cloche," which features the ringing of the village bell. It is filled with dances and festivities meant to close the Opera on a high note. The music for Coppélia ranks with that of the ballets by Tchaikovsky . It is colorful, sensitive, full of nuance and spirit. Its lyricism inspires motion, and it advanced the technique of the leitmotif in theatrical music.

Each of the characters is identified by its own leitmotif, and leitmotifs also set the mood and atmosphere of each number. Color and timbre are Delibes' forte. He uses both to exquisite effect, communicating emotional content with his diverse palette. He was well acquainted with Slavic music and eastern European dance forms. For the first time, the czardas, a Hungarian dance, is included among the dance numbers. There are also mazurkas and Slavic themes throughout the ballet. The ethnic and national color adds character to the work, and follows Romantic ballet traditions. Romanticism was on the wane when Delibes composed the score for Coppélia, and his evocative and impressionistic score prefigures future developments of the nineteenth century. The librettist for Coppélia was Charles Nuttier. He took his story from E.T.A. Hoffmann's Der Sandmann, but he was also influenced by the comedy La Fille mal Gardee, which has characters derived from the commedia dell'arte.

The story of Coppélia, though taken from Hoffmann's gothic tale, is a light-hearted love story, which features a mechanical doll as the heroine's arch rival and a comical villain. Although Dr. Coppelius is still a somewhat sinister figure, he is also the springboard for comic events. Coppélia was the first ballet to feature a mechanical doll coming to life as part of the plot, and it formed a precedent for future ballet plots of the century. Parts/Movements No. 5: Ballade de l'Épi No. 6: Thème Slave Varié No. 7: Czárdas-Danse Hongroise No. 11: Musique des Automates No. 11 bis: Scène No. 13: Chanson à Boire et Scène No. 14 (a): Scène et No. 14 (b): Valse de la Poupée No.

15: Scène Martin, Burfield featured as Ballet Lubbock dances classic 'Coppelia' | Lubbock Online | Lubbock Avalanche-Journal Martin, Burfield featured as Ballet Lubbock dances classic 'Coppelia' Ballet Lubbock debuts first set, but must dance to recorded music Annie Martin, lead character "Swanilda" in the upcoming performance "Coppelia," poses in the mirror at rehearsal at the Ballet Lubbock studio on April 3. (Allison Terry) Annie Martin, 16, poses during rehearsal at the Ballet Lubbock studio on Thursday. (Allison Terry) Dancers of the Ballet Lubbock Company practice technique during rehearsal at the Ballet Lubbock studio on April 3. (Allison Terry) Ballet Lubbock Company dancers prepare for their upcoming performance, "Coppelia," at the Ballet Lubbock studio on April 3. (Allison Terry) There was a time when Ballet Lubbock artistic director Yvonne Racz Key went to great lengths to verbally paint her company dancers as athletes, describing their physical pain and sacrifices, hoping to snare the attention of the city’s sports followers.

However, when Ballet Lubbock Executive Director Nicholas Dragga points out that tickets were being scalped for last year’s sold-out performances of “The Nutcracker,” it is obvious Key again can focus strictly on dance. “We feel extremely fortunate to live in a city that supports the arts, and specifically ballet, so robustly,” said Dragga. Ballet Lubbock again has entered into a partnership with the Lubbock Arts Festival, which takes place Friday, April 11, through Sunday, April 13, at the Lubbock Memorial Civic Center. This year, Ballet Lubbock will stage the full-length, heralded, comic ballet “Coppelia,” with performances at 7:30 p.m. Friday, and 2 p.m. Saturday and April 13 at the Civic Center’s theater.

Key feels strongly about performing a full-length production every other spring, alternating it with a “mixed repertoire performance.” She explained, “It is the spring production that enables dancers to have exposure and education to classical ballets other than ‘The Nutcracker,’ as well as opportunities to work with guest choreographers and learn different choreography in styles of dance outside of ballet.” Not until 2007 did she gain the confidence her company could handle longer ballets. But she jumped in on pointe, so to speak, choreographing and producing “A Midsummer Night’s Dream” in 2007, “The Firebird” in 2009, “Sleeping Beauty” in 2010 and “Cinderella” in 2012. “Coppelia” premiered in May 1870 in Paris, although many prefer choreographer Marius Petipa’s revival of the ballet in the late 19th century. Humor is stressed. The ballet introduces inventor Dr. Coppelius, who has made a life-sized dancing doll. It appears so real, in fact, that Franz becomes infatuated with it and turns away from his living true love, Swanilda.

She makes him see the light by dressing as the doll and pretending to make it come to life. (This also saves Franz from a diabolical plan by Dr. Coppelius.) The cast enjoys the ballet’s comic aspects, with Key stating, “My dancers are natural actors and love to perform, so they pick it up very quickly.” Still, no matter how light-hearted it may be at times, “Coppelia” is a difficult ballet to teach and learn, said Key. “Extremely difficult. More difficult than ‘Cinderella.’ The reason is that it does not just have classic ballet. There also are character dances in it. Character dance is essential training for any ballet dancer, but it is very difficult. It has a specific style and technique.” Rehearsals for “Coppelia” are run by Key and staff instructor Tamorah Tobin. Expect a large number of Ballet Lubbock dancers on stage, although the top 20 performers would be the 14, including three boys, in her Company, and the six in Apprentice. Featured dancers in “Coppelia” include Annie Martin, in her fourth year with Ballet Lubbock, dancing Swanilda.

Guest artist Michael Burfield, a company dancer with Ballet Austin, will dance Franz. Burfield, by the way, is a Ballet Lubbock graduate. Key considers any request to name more accomplished dancers a “loaded question.” “They are all accomplished because I know how far they have come since September,” noted Key. However, she did point out the three who will perform solos. They are: ■ Annie Martin as the lead, Swanilda. Key remarked, “It is a very demanding role regarding acting and technique.” ■ Angela Lee doing the “Prayer” solo. “It requires a lot of control,” said Key. ■ Olivia Marberry dances “Dawn” solo. Key pointed out, “This requires technique and stamina. And all three are very strong dancers.” That Ballet Lubbock cannot perform with live music is Key’s most bitter disappointment. “I wish, I wish...” she began. Dragga explained the challenge faced. The ballet’s largest annual expense, by far, is the $35,000 fee for the Lubbock Symphony Orchestra to perform for “The Nutcracker.” An equal number of musicians would have been needed for “Coppelia.” The dancers, instead, will perform to recorded music.

The budget for “Coppelia,” said Dragga, is more than $15,000. Janie Bush, Ballet Lubbock’s production manager, said 80 costumes were needed for “Coppelia.” She also revealed, “The production will have a set, complete with two building set pieces that are 20 feet high, with a balcony for our Coppelia doll. This is a first for Ballet Lubbock. We are very excited about our set. We worked with Jared Canada and Angela Frisbie to design set pieces that could be multifunctional for future productions.” Costumes were “conceptualized over a year ago,” said Bush “Yvonne and I chose the backdrop that would best fit our needs, and then the sets and costumes were designed in the period style and color palette that would work with the backdrop. “A unique team of professionals and volunteers all come together to make our production artistically beautiful and functional, with the idea in mind that we are creating elements that can be used for years to come in future ballets.” Indeed, the goal Key, Bush and volunteer costume mistress Amy Carlile shared was to design a set of storybook costumes that would be interchangeable and functional for other ballets.

Bush said they relied heavily on volunteer moms “working around the clock,” a group they refer to as, out of respect, the Silver Thimbles. Also helping, said Key, is the ballet’s partnership with the arts festival. “It is important,” explained Key. “We strive to attract people who have not seen our performances. The arts festival draws so many families, and ‘Coppelia’ is perfect for all ages. “Having a festival that celebrates the arts is the perfect time for us to perform.” Ballet Lubbock has a staunch fan in the arts festival’s executive director, Elizabeth Regner, who commented, “They always give remarkable performances that captivate audiences. Because one of the purposes of the festival is to highlight local arts organizations, we are so pleased that Ballet Lubbock will present its spring performance in conjunction with our own.” william.kerns@lubbockonline.com Cheap Coppelia Tickets Details of Coppelia and the Ticket Luck value Coppelia Coppelia is a name of one of the most likable sentimental yet comic French ballet by the audiences. The original choreography of the ballet was done by Arthur Saint-Leon and its music was composed by Leo Delibes. The ballet owes its storyline to E. T. A.

Hoffmann, which are two macabre stories titled The Sandman and The Doll. It is one of the old ballets as its premier was done on 25th May 1870, at the Theatre Imperial de l'Opera. The ballet was received very well among the audiences but there was an interruption due to the Franco-Prussian War and the resultant siege of Paris. Later it had gained the lost glory and considered to be the most-performed ballet at the Opera Garnier. It is interesting to tell you a little bit about the origination of the ballet, and the introduction of the key members with each other. Giuseppina Bozzachi had come to Paris for studies. It was the same time when Arthur Saint-Leon and the director of the Paris Opera, Emile Perrin were in an active search, and they had even gone to Italy for the the same reason, but could not find a suitable one. It was the same time when they had discovered Bozzachi. She had created Swanhilda in the presence of Emperor Napoleon III, on 25th May 1870. She had done the same task in the later weeks too.

At that time, a great dispute had started between France and Prussia on the issue of the succession of the Spanish throne. There was war all around and Giuseppina Bozzachi danced Swanhilda for the 18th and final time on 31 August, the theatre was closed during the whole period of the war. Saint-Leon had died only two days after the closure of the theatre. The theatre administration could not pay the salaries, and as a result Giuseppina became ill, due to malnutrition caught in smallpox and fever, and had died on the morning of her 17th birthday, in the same year of 1870. The ballet was started after the end of war, and the later version was re-choreographed by New York City Ballet incharge George Balanchine, proving to be of so much success. The synopsis of Coppelia carries a strange and mysterious, but a fairytale like quality. The main character of the story, Doctor Coppelius, creates a human like dancing doll. It is so real that Franz, who is a common villager swain, developes an infatuation for it, and he has no control over his heart.

It is the Swanilde, who in Act II highlights the false desire of his by dressing like a doll and pretending to come to life. There are so many festive wedding-day thing in the village square covering the Act III, but are not presented in the modern day versions. The ballet has a definite influence of the traveling shows of the late 18th and early 19th centuries. There is a variation of the Coppelia story in the Jacques Offenbach's opera. The opera consists of a prologue, with the three fantastic tales in whom Hoffmann is a participant, and an epilogue. In the first story, which is based on Der Sandmann, Hoffmann falls in love with a mechanical doll, Olympia, but in this case, the story takes on a tragic and melancholic touch with the break up of the doll. Coppelia had a feature film presentation by the name of Ballerina, shown in two parts in the U.S. on Walt Disney's Wonderful World of Color in 1966 and later released theatrically in Europe. View All Coppelia Tickets Newsletter Signup Get up to 5% immediate discount PLUS free news and updates for all your hot shows and games! Enter valid email

Question: What is the lead character in Copplia, a sentimental comic ballet by Lo Dlibes?
Answer: Doll