This fall, the New York City Ballet brought Coppélia to life once again in a limited engagement at Lincoln Center, delighting audiences with its whimsical charm and stunning choreography. As one of the highlights of the ballet season, this production showcased the company’s signature blend of classical ballet mastery and modern innovation, cementing its reputation as a leader in the ballet world.
We attended the October 5 performance, where principal dancers Tiler Peck and Roman Mejia, performed the double role of Swanilda/Coppélia and her love interest Franz, respectively. Peck brought a mischievous, comedic touch to her roles, while her bravura dances in the third act were executed with exquisite precision. Her portrayal captivated the audience, perfectly balancing humor and technical prowess. Roman Mejia’s high-energy leaps and pirouettes electrified the stage, drawing roaring applause and cheers from the audience.
Coppélia, considered one of the greatest comic ballets of the 19th century, has remained a beloved piece in the classical ballet repertory. Originally choreographed by Arthur St. Léon in 1870, it was later restaged by Marius Petipa in 1884 and revised by Enrico Cecchetti in 1894. Though none of St. Léon’s original choreography survives in modern productions, his ideas and storyline remain at the core of Acts I and II, though the nature of some roles has evolved over time.
The 1974 New York City Ballet production, choreographed by George Balanchine and Alexandra Danilova, is regarded as one of the most authentic stagings, particularly for its preservation of character dances. Balanchine’s version features a completely new third act, where the story fades into the background, allowing the village festivities to unfold in a series of lively dances that culminate in a grand finale.
The music, composed by Léo Delibes, is heralded as one of the first symphonic ballet scores and remains a model of ballet composition. In collaboration with Charles Nuitter, who adapted the story from E.T.A. Hoffmann’s Der Sandmann, Delibes created a score that masterfully blends French Romantic and Russian Classical ballet styles. Known for his ability to illustrate action, create atmosphere, and inspire movement, Delibes’ score features melodic national dances and rich musical descriptions that introduce key characters.
The New York City Ballet’s relationship with Coppélia deepened in 1974, when Balanchine decided to add the ballet to the company’s repertory. Balanchine updated the choreography with additional male solos, more pas de deux, and a completely reimagined third act. Alexandra Danilova, known for her definitive portrayal of Swanilda, collaborated with Balanchine to restage the dances she knew so well, coaching the principal cast, which included Patricia McBride as Swanilda, Helgi Tomasson as Frantz, and Shaun O’Brien as Doctor Coppélius.
Although Coppélia has now concluded its limited run at Lincoln Center, the 2024 season continues with other exciting repertory through October 13, offering ballet lovers a chance to experience more of the New York City Ballet’s outstanding performances.
For more information and to view upcoming performances at Lincoln Center, visit the New York City Ballet’s website.
