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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 by Alexandra Danilova and George Balanchine after Marius Petipa (1884; revised 1894 by Lev Ivanov and Enrico Cecchetti), with additional choreography by George Balanchine
Scenery and costumes by Rouben Ter-Arutunian. Costumes executed by Karinska and Barbara Matera, Ltd. Lighting by Ronald Bates
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;
Act I. A Village Square in Galicia
Act II. Dr. Coppélius’s Secret Workshop
Act III. A Village Wedding and Festival of Bells
Performance Type
See Also
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 [273]. The production was partially commissioned by the Saratoga Performing Arts Center.
Additional Productions
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.

1977   Geneva Ballet (Grand Theatre de Geneve [Ballet])
2010   Boston Ballet
2010   Pacific Northwest Ballet
2011   Dresden SemperOper Ballett
2011   San Francisco Ballet
2016   Pacific Northwest Ballet
2019   Boston Ballet

Recorded Performances

1978 (PBS, Live from Lincoln Center)

Source Notes

Additional music information provided by Gordon Boelzner, Robert Irving; additional revisions information provided by Betty Cage, Arlene Croce, Nancy Goldner

Léo Delibes (excerpts from La Source [Naïla], 1866, and Sylvia, ou la Nymphe de Diane, 1876)
George Balanchine. Staged by Frederic Franklin
Costumes by Karinska. Lighting by David Hays
January 14, 1965, New York City Ballet, New York State Theater. Conductor: Robert Irving
VALSE LENTE AND PAS DE DEUX: Melissa Hayden, André Prokovsky;
ALLEGRO VIVACE: Suki Schorer, 8 women;
VARIATION: Prokovsky;
Performance Type
See Also
VALSE LENTE AND PAS DE DEUX was originally choreographed for the New York City Ballet in 1950, titled Sylvia: Pas de Deux [273]. In 1969, the ALLEGRO VIVACE and VALSE DES FLEURS were incorporated into La Source [364], choreographed for the New York City Ballet.
Source Notes

Structure of ballet and its relationship to Sylvia: Pas de Deux [273] and La Source [364] clarified by Arlene Croce, Melissa Hayden, Suki Schorer, Jacques d’Amboise

Léo Delibes (from Sylvia, ou la Nymphe de Diane, produced 1876)
George Balanchine
February 1925 (before February 21), the Royal Palace, Monte Carlo
Alicia Markova
Performance Type
Concert Works
See Also
 First performed at a party given by the Princesse Héréditaire. Earliest program found (February 21, 1925, matinee) lists the work, then entitled Variation, as part of the ‘Suite de Danses’ under the general title Le Festin, in the series of concert performances by Diaghilev’s Ballets Russes given in the Nouvelle Salle de Musique (Salle Ganne) of the Monte Carlo Casino. Other works performed at the concert included Balanchine’s staging of the Grand Pas Hongrois from Petipa’s Raymonda and his own appearance with Tamara Geva in Enigma [25].
Source Notes

Grigoriev, The Diaghilev Ballet, p. 209, amplified by Balanchine, Alicia Markova, Anton Dolin.