Delibes - Coppelia / Kirov, Vinogradov, Tarasova
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DVD Cover Information
Actor: Kirov BalletDVD: Region Code 1
Audio: English (Unknown); English (Original Language)
Format: Classical, Color, Dolby, DVD, NTSC
Picture Format: 1.33:1
Running Time: 91 minutes
DVD Release Date: 2006-06-27
Audience Rating: NR (Not Rated)
Studio: Kultur Video
Movie Reviews of Delibes - Coppelia / Kirov, Vinogradov, Tarasova
Movie Review: Innovative and Exceptional Production
Summary: 5 Stars
This is an outstanding production of one of the most beloved ballets in the classic repertory. Fortunately, there are several very rewarding DVDs of Coppelia, including the 1993 version by the Australian Ballet, but the 1993 Kirov rendition does an exceptional job of capturing the spirit of the story and portraying the characters. It is beautifully choreographed, staged, and photographed, including some charming close-ups and overhead views from the vantage point of the mechanical doll, Coppelia. The famous Russian choreographer and set designer, Oleg Vinogradov, never wanders far from the story and charms the viewer with some clever surprises. He carefully integrates the corps de ballet by having it reflect, at times, the movements of the principal dancers.
Unlike other versions of this ballet, the Kirov production includes an extensive and humorous dance scene, in Act I, with the mechanical doll in the town square. Franz and his friends are attracted but bewildered by its mechanical responses as they try to help it unwind. The character of Swanilda is charmingly portrayed by Irina Shapchits in both her expressive dancing and facial expressions. She shows remarkable balance and flexibility in her solo routines and duets with Franz. Act II provides a lively and inventive display of Dr. Coppelius' mechanical toys, including the amazing gymnastics of the Nutcracker. On a humorous note, Swanilda, posing as the doll, kicks and slaps Franz for being unfaithful to her. The town square scene demonstrates why the Kirov is probably the world's premiere corps de ballet. Its stunning and versatile performance reminds one of a corps of gold medalists. While Vinogradov has choreographed many of its movements to support the lead dancers, he also allows it to be inventive with a lively Mazurka, and a wooden hammer and legwork routine that would impress any gymnast. This is followed by golden spinning wheels accompanied by expressive armwork. This provides a lovely transition for the principal dancers as they try to reconcile their differences with the active engagement of the entire ensemble. Yes, Vindogradov introduces some innovative and new choreography to a classic ballet, but so did George Balanchine.
Ballet lovers should probably purchase copies of both the Australian and Kirov versions. Each one takes great liberties, as does Offenbach's popular opera, with E.T.A. Hoffmann's Medieval tale of an eccentric inventor. Hoffmann would have been pleased with Coppelius' Gothic workshop in the Australian version. I suspect that he would have been charmed by each of these interpretations. The Australian production provides some outstanding dancing, especially by Lisa Pavane, as Swanilda. She displays a remarkable range of technical skills and talent for mimicing several mechanical toys. The Australian version is performed before a live audience. While we never see the audience, it makes itself known by frequent outbursts of applause that, at times, tends to distract from the flow of the story and dancing. (Now I can understand why Russian audiences tend to be rather reserved until the curtain calls.) The final scene tends to become a showcase for displaying the formidable skills of the lead dancers, including a series of spins, turns, leaps, and lifts. They are rewarded with generous applause. In direct contrast, the Kirov version is performed without an audience, and this provides a continual flow of action and a character intimacy that is very satisfying. However, you may be disappointed if you consider the audience's reaction to be a necessary part of the experience. Watch for the clever method that Vinogradov employs to allow the corps and lead dancers to take their bows before an empty house. He makes certain that Coppelia is not forgotten. What a treasure!
(For the purpose of comparison, please see my review of the Australian version. )
Summary of Delibes - Coppelia / Kirov, Vinogradov, Tarasova
Coppélia is a classical ballet in the true sense, and with its touch of East European folklore, continues to enjoy worldwide popularity. It combines the romance between Swanilda and Franz with the story of the doll-maker Coppelius, whose greatest desire is to create a doll with a soul. Franz immediately falls in love with Coppélia, who he thinks is real, but eventually recognizes is just a doll. He returns to Swanilda, after which the final grand divertissement sees everyone reconciled.Music: Leo Delibes. New Version Choreographed And Staged By Oleg Vinogradov. Original Libretto: Charles Nuitter & Arthur Saint-Léon After A Story by E.T.A. Hoffmann. Swanilda: Irina Shapchits. Franz: Mikhail Zavialov. Coppelius: Petr Rusanov. Coppélia: Elvira Tarasova. Swanilda?s Friends:Tatiana Salnikova, Marina Tchirkova, Anastasia Dunets, Tatiana Rusanova. Set Design: Vyacheslav Okunov. Costume Design: Irina Press.
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