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COPPELIA
Leo Delibes (1836 - 1891) began writing for the stage early
in his career and composed many operettas for the Théatre-
Lyrique in Paris. In 1863 he was appointed accompanist at the
Opéra and later, in 1865, became second chorus-master. This
appointment at the Opéra afforded him the opportunity of a
career in a new field. He was appointed to write a ballet “La
Source” (produced 1866) in collaboration with the well-known
composer of ballet music Minkus. By his wealth of melodic
invention, he completely eclipsed the established master in this
field and was later entrusted with the entire composition of a
ballet, Coppelia, which was produced at the Paris Opera on
25th May, 1870, with a scenario by C. Nuitter and Arthur
Saint-Leon, and choreography by the last-named, a celebrated
fie iallen wietice and choreuerapher
SYNOPSIS
‘The scene is set in a small town on the borders of Galicia
and the story concerns a young girl Swanhilda, who is upset
because her betrothed Frantz is displaying far too much interest
in a pretty girl who always sits in the window of a house over
the way reading.
SIDE |
ACT I
Band 1. Prelude, which opens with the theme associated with
Swanhilda and Frantz when they are together, and leads into
the well-known mazurka (No. 3) danced later (in Act I) by
the villagers and peasants.
Band 2. Curtain Music. No. 1—Valse de Swanhilda.
Swanhilda comes out into the town square and tries to
attract the attention of a pretty girl sitting reading in a window,
who is believed to be the mysterious Dr. Coppelius’s daughter
Coppelia. As she gets no response, she amuses herself by dancing
a waltz.
She hides when her lover Frantz appears. The latter blows
a kiss to the girl at the window, with more success apparently
than Swanhilda, for Coppelia appears to respond to his greeting.
The angry Swanhilda reproaches Frantz and will have nothing
to do with his excuses and protestations. The villagers gather
and dance the Mazurka (No. 3) which has already been heard
in the Prelude, after which the Burgomaster comes on the
scene and announces a féte for the morrow to celebrate the
gift of a bell to the town by the lord of manor.
Band 3—No. 5—Ballade de l’épi.
The Burgomaster reminds Swanhilda that the lord of the
manor will provide a dowry for every couple married on the
morrow, but Swanhilda replies that she is not yet sure and tells
the story of the straw that reveals all secrets. She pulls an ear
of corn from a sheaf, places it in her ear, listens attentively,
NE ae A GSS Sa ey
No, 6—Théme slave varié. This consists of a theme, which
is drawn from Moniuszko’s Echos de Pologne, and four vari-
ations, followed by an extended allegretto non troppo. Swan-
hilda dances with her companions.
Band 4. No. 7—Czardas (Danse hongroise) [his is a
typical ‘stage’ Hungarian number which is danced with great
energy and verve by all concerned.
Night falls and the villagers begin to disperse. Dr. Coppelius
decides to go for a stroll, carefully locking the door behind
him. He is jostled by a group of young people and drops his
key, which is picked up by Swanhilda. Her curiosity sharpened
by jealousy, she calls her companions and they decide to enter
the mysterious doctor’s house to see what really goes on inside.
Shortly afterwards Frantz arrives with a ladder, which he
props up against Coppelia’s window. The return of the old
doctor, suspiciously searching for the lost key, frightens him
away for the moment.
ACT I scene 1
Swanhilda and her companions find themselves in Dr.
Coppelius’s workshop. It is filled with life-size figures; the
mysterious doctor makes automatic toys. The girls enter ner-
vously and inspect everything. Swanhilda draws aside some
curtains and discovers Coppelia still reading. She fails to elicit
any response from the pretty girl. Finally she becomes so
bold in her actions that she discovers Coppelia to be a dummy
like the rest. Just as the girls set all the automatons in motion,
Copelius returns and surprises them. He chases them out in a
fury, all save Swanhilda who hides. Now Frantz props up his
ladder once more and enters by the window. Coppelius catches
him and, prompted by a sudden idea, plies him with wine,
until he falls insensible across the table. Now is Coppelius’s
opportunity to put into execution a long-cherished design. By
means of his magic books, he hopes to transfer Frantz’s soul
into the body of the automaton Coppelia and thus bring her
to life. Meanwhile Swanhilda has managed to don Coppelia’s
clothes and seat herself in the doll’s chair with a book.
SIDE it
Rand 1. No, 14—=Scine et valee de th coupes
Consulting his magic books, Dr. Coppelius proceeds to make
hyDNOHE <pasces tal the) Girecdon of the’ supposed | Coppelis,
Aping the automaton, Swanhilda pretends to come slowly to
life and in a stiff and anoular manner, dances a waltz.
Band 2. No. 15—Scene
Coppelius continues his efforts and gradually the pretended
doll’s movements become more natural and lifelike. She begins
to display rather too much interest in the sleeping Frantz for the
doctor’s liking. He pursues her round the studio, as she grows
more and more mischievous, finally giving her a mantilla and
fan, whereupon she executes a Spanish dance (No. 16—Bolero).
Band 3. No. 17—Gigue
Swanhilda catches sight of a Scottish plaid, snatches it up
and, draping it round her, proceeds to dance a jig.
At the conclusion of the jig, she runs amok and sets all
the automata in motion, wrecking many of them. The old man
can no longer control her. She shakes the drugged Frantz,
who begins to recover consciousness at last and escapes with
Swanhilda, leaving the disconsolate doctor with the disrobed
and smashed doll Coppelia.
ACT II Scene 2
Takes place on a shady lawn in the grounds belonging to
the lord of the manor. The bell is suspended on decorated poles
in the background. Stands have been erected for the gentry.
Band 4. No. 19—Marche de la cloche
The villagers assemble, along with the couples who are to
be married, Swanhilda and Frantz, who is forgiven, among them.
Coppelius arrives to demand compensation for the damage done
to his posessions. Swanhilda offers him her dowry, but is re-
strained by the lord of the manor, who throws the old man
aioe
Band 5. No, 20a—Valse des heures
The hours of the morning enter and dance.
Other dances, representing the succeeding hours of the day
with their characteristic occupations, are contributed by dancers
embodying Dawn, Prayer, Work and son on.
Band 6. No. 20—Danse de Fete
(Aah oe arsieral tanee leat to:
Band 7. No, 20h—Galop-finale
in which all join and everything ends in an atmosphere of
light-hearted gaiety.
PEC CIE COCHRANE
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