Prague, situated in the heart of Europe and oozing charm, is the ideal city to see the ballet Coppélia. The story is set in Galicia, a prototype European country now safely consigned to history, where the music, customs, folk dance and costuming can borrow with ease across boundaries to create a timeless idyll. The story of young love, pleasantly punctuated with an indiscretion to add spice, and of course a happy ending, makes the ballet an enduring favourite.
Léo Delibes created some of his sweetest and most tuneful ballet music for Coppélia, played by the State Opera Orchestra under the baton of Václav Zahradník. For this production by the Czech National Ballet, designer Roberta Guidi di Bagno has woven her magic in fine fabrics, subtle colours and attention to detail to create the romantic atmosphere with a breath of countryside.
Ronald Hynd’s production first presented in 1985 for London Festival Ballet (now English National Ballet) in the UK, was a hugely popular addition to the repertoire and he now brings it to Prague at the grand age of 93. Much of the well-known choreography of Arthur Saint-Léon, Marius Petipa and Enrico Cecchetti is in evidence but the characters and playing out of the drama have been skilfully adapted by Hynd.
Aya Okumura, as Swanilda, very nearly stole the show despite the strong competition. Her mercurial technique, defined by clarity and speed, gave the choreography the sparkle to make it memorable. Added to this she lived the role. Swanilda is a girl who has marked her man and despite his flirtatious ways, this is true love. She is also a girl who knows how to have fun and her enthusiasm for adventure was infectious.
As Franz, Federico Ievoli had the charm needed to get him out of a sticky situation when he is caught in the act of blowing kisses to the girl in the window! His dance exudes joie de vivre and the choreography offers fine opportunities to display his talents. Hynd has beefed up the Mazurka to give more virtuosic dance for the men and Ievoli and his band of friends make the most of their chance. Hynd’s Czardas also incorporates a good deal of ballet while keeping the vibrancy of the folk dance. The ‘Ear of Corn‘ duet provides a lyrical interlude before Swanilda’s Friends get their moment led by an exuberant Okumura who threw in a delicious firecracker of a gargouillade in the race to the finale.
The last act has the traditional elements including the two solos well danced by Olga Bogoliubskaia as Dawn and Irina Burduja as Prayer. The Waltz of the Hours, and the busy harvesters and spinners have their moment. Hynd has deviated from the standard order of grand pas de deux. In this production Franz, backed by the quartet of betrothal men, dances a variation to the music often designated to War. Swanilda dances her variation in a sparkling interpretation by Okumura before festivities are interrupted by the arrival of Dr Coppélius. He demands justice for the damage to his workshop, refusing the purse offered as compensation. It takes the honey sweet Okumura who gently apologises and puts the money in his hand, to save the situation. This leads seamlessly into the pas de deux and the rousing finale.
Interpreting Dr Coppélius is a tricky business. Bullying an old man is definitely not acceptable today and Giovanni Rotolo does well to play him as a feisty eccentric who fights back. However, he is not entirely innocent as he does then drug Franz and try to transfer his life force into his favourite doll. Rotolo carries the comedy elements through the second act as Okumura plays out his dream. It is cleverly done with Okumura showing just a little remorse to soften the cruel awakening as Coppélius realises he has been duped.
E. T. A. Hoffmann’s cruel tale of The Sandman has very loose connections to the story. The name of Coppélius is a link, but the idea of creating a living human being from a constructed human form has a far richer and more complex history that follows through the ages and surface today in our search to give emotional intelligence to AI. Little of this matters when faced with a wealth of delightful dance, beautifully presented in an excellent production. Artistic Director, Filip Barankiewicz’ new addition is a popular choice, well suited to his company.
Maggie's press trip was paid for by Czech National Ballet
