Music: By Léo Delibes (Coppélia, ou la Fille aux Yeux d'Émail, produced 1870, with excerpts from Sylvia, ou la Nymphe de Diane, produced 1876, and La Source [Naïla], 1866). Book by Charles Nuitter, after E. T. A. Hoffmann's Der Sandmann (1815).
Choreography: Choreography by Alexandra Danilova and George Balanchine after Marius Petipa (1884; revised 1894 by Lev Ivanov and Enrico Cecchetti), with additional choreography by George Balanchine.
Production: Scenery and costumes by Rouben Ter-Arutunian. Costumes executed by Karinska and Barbara Matera, Ltd. Lighting by Ronald Bates.
Premiere: July 17, 1974, New York City Ballet, Saratoga Performing Arts Center, Saratoga Springs, New York.
Conductor: Robert Irving. (First New York State Theater performance, with children from the School of American Ballet, November 20.)
Swanilda/Coppélia, Patricia McBride; Frantz, Helgi Tomasson; Dr. Coppélius, Shaun O'Brien. ACT I: The Doll Coppélia; Villagers, 8 couples; Mayor, Michael Arshansky; Swanilda's Friends, 8 women. ACT II: Swanilda and Her Friends; The Automatons: Astrologer, Juggler, Acrobat, Chinaman. ACT III: Burgomaster; Villagers, Brides, Grooms, and Friends, 8 women, 6 men; DEDICATION OF THE BELLS: WALTZ OF THE GOLDEN HOURS: Marnee Morris, 24 children; Dawn, Merrill Ashley; Prayer, Christine Redpath; Spinner, Susan Hendl; Jesterettes, 4 women; DISCORD AND WAR: Colleen Neary, Robert Weiss, 8 couples; PEACE (pas de deux): McBride, Tomasson; FINALE.
Act I. A Village Square in Galicia.
Act II. Dr. Coppélius's Secret Workshop.
Act III. A Village Wedding and Festival of Bells.
Note: Balanchine and Danilova collaborated to reproduce parts of Petipa's choreography for Coppélia, which they had learned while students at the Imperial Ballet School; Danilova had later become a leading interpreter of the role of Swanilda. Balanchine created entirely new choreography for Act III, and for the mazurka and czardas in Act I, and made slight revisions in other dances in Act I. Using music from Sylvia, Balanchine created a male variation for Act I and a complete pas de deux for Act III, in which the male variation is taken from his Sylvia: Pas de Deux . The production was partially commissioned by the Saratoga Performing Arts Center.
Revisions: 1974, New York City Ballet: Act III costumes altered before first New York performance and new children's costumes designed by Karinska; coda added to Act III PEACE pas de deux.