'Coppelia' at NYC Ballet

After a five year absence 'Coppelia' returned to the New York City Ballet repertory on Valentine's Day.  We have seen this ballet many times since the company first staged it -- including at it's premier in Saratoga Springs in 1974.  The choreography by George Balanchine and Alexandra Danilova is based on their recollection of the version by Petipa that they had seen at the Mariinsky in St. Petersburg as youngsters.  Balanchine and Danilova both left the Soviet Union for Europe in 1924 and each soon joined Diaghilev's Ballet Russes.

Mme. Danilova went on to a distinguished career as a prima ballerina in the various companies that arose out of the Ballet Russes after the death of Diaghilev in 1929.  Among her most illustrious roles was Swanilda in several productions of  'Coppelia' that were derived from the Petipa production at the Mariinsky.  

Alexandra Danilova & Frederic Franklin in the Sadlers Wells production of 'Coppelia'

In 1964, sometime after the end of her performing career, Balanchine invited Mme. Danilova to join the faculty of the School of American Balle.  At SAB she became a beloved teacher and in 1965 she staged the first of the annual student workshop performances.  One of my regrets as a dance lover is that I was never able to observe one of her classes at the School.

Alexandra Danilova in 1979, photo by Tom Buck

Balanchine supposedly convinced Lincoln Kirstein (who had always been in favor of presenting only new work at NYC Ballet) to stage 'Coppelia' by pointing out how many family members and friends of each of the 24 little girls in the Act III divertissements would fill the seats at each performance.

Balanchine created and reworked the choreography for the ensembles in Acts I & III, while Mme. Danilova recreated the entire Act II and the pas de deux for the central couple in the opening and closing acts from her memory of the productions she had danced in.  The stellar original cast included Patricia McBride as Swanilda, Helgi Tomasson as Frantz and Shaun O'Brien as Dr. Coppelius.  

Mme. Alexandra Danilova working with Helgi Tomasson & Patricia McBride in 1974,
photo by Martha Swope for NYC Ballet

The production was designed by Rouben Ter-Arutunian.  The sets are in a faux-naif style that was fresh and charming in 1974, but has become rather shabby and dated now.  In researching for this post, I noted that San Francisco Ballet and Pacific Northwest Ballet have mounted a joint production of the Balanchine/Danilova version of 'Coppelia' "beautifully designed by Roberta Guidi di Bagno in shimmering pastels and whimsical patterns" according to Moira Macdonald in the Seattle Times.

Roberta Guidi di Bagno's designs for Pacific Northwest Ballet's 'Coppelia', photo by Angela Sterling for PNB

The cast we saw last weekend should have sparkled in these roles:
  
COPPÉLIA: SWANILDA: T. Peck; FRANTZ: Veyette; DR. COPPÉLIUS: La Fosse+;
WALTZ: *Lovette; DAWN: *Isaacs; PRAYER: *Smith; SPINNER: *Pazcoguin; WAR and DISCORD: *Kikta, *Ball
(Guest Conductor: Litton)
* First Time in Role

Andrew Veyette's punkish athleticism should be ideal for the loutish, two-timing Frantz and Tiler Peck's solid technique and ingenue sparkle seem ideal for the irrepressible Swanilda.  Robert LaFosse's experience as both Drosselmeier in 'Nutcracker' and as Dr. Coppelius should allow him to work magic.  Instead, we saw confused, almost incoherent story-telling from all three principals.  Andrew didn't convey Frantz's ardor for both Swanilda and the doll, Coppelia.  Tiler couldn't decide if Swanilda was curious or downright malicious in her treatment of Dr. Coppelius.  LaFosse seemed to be torn between creating a daft old codger or a much darker character of Coppelius.  Finally, in the pas de deux of Act I and Act III there wasn't enough chemistry between Tiler and Andrew.  Certainly all of the steps were brilliantly in place, but there was not really much reason for them.

Tiler Peck as Swanilda in the Act III Wedding Pas de Deux from 'Coppelia'
 photo by Andrea Mohin for the NYTimes

Fortunately, the rest of the company looked wonderful -- well rehearsed and enthusiastic.  In the Act III divertissements, Lauren Lovette was musical and enchanting in the 'Waltz of the Golden Hours' -- even though she had to compete with 24 adorable little girls from SAB for attention (didn't W.C.Fields say something about never performing with children or animals?). Gretchen Smith was lovely and solemn in 'Prayer'. Emily Kitka and Harrison Ball even salvaged the kitschy 'War and Discord' from total disaster (it's got to be one of Balanchine's least inspired pieces of choreography).  

And the orchestra under the direction of the guest conductor, Andrew Litton, provided nuanced and lilting musical support.  The Delibes music is among the loveliest in the classical ballet canon and it was brought to robust life in this performance.  Maestro Litton is one of the better 'guest' conductors who have been in the pit since the departure of Fayçal Karoui nearly two years ago.   When will Peter Martins and the NYCB board hire a new music director for the company and bring this conductor 'audition' process to a close?