Conductor: Alvise Casellati
Ballet in two acts and three scenes by Léo Delibes
choreography by Roland Petit
Libretto by Charles Nuitter and Arthur Saint-Léon based upon E.T.A. Hoffman's story Der Sandmann (The Sandman)
Choreographic supervision Luigi Bonino
Set and costume designer Ezio Frigerio
SWANILDA Anbeta Toromani (22, 23 sera, 26, 27/IV) / Luisa Ieluzzi (23 pomeriggio, 24/IV)
FRANZ Alessandro Macario (22, 23 sera, 26, 27/IV) / Alessandro Staiano (23 pomeriggio, 24/IV)
COPPÉLIUS Massimo Sorrentino (22, 23 sera, 26, 27/IV) / Gianluca Nunziata (23 pomeriggio, 24/IV)
Ballet Company by Fondazione Teatro di San Carlo di Napoli
Maitre de Ballet Lienz Chang
A production by FONDAZIONE TEATRO DELL'OPERA DI ROMA
Orchestra by Fondazione Teatro Lirico “Giuseppe Verdi di Trieste”
Luana Damiano / Candida Sorrentino (24-26-27 aprile)
Giovanna Sorrentio / Claudia D'Antonio (24-26-27 aprile)
Grazia Striano / Martina Affaticato (24-26-27aprile)
Anna Chiara Amirante
Ottavia Cocozza / Luisa Vallozzi (24-26-27 aprile)
Valentina Allevi / Erica Raia (24-26-27 aprile)
Irene De Rosa
Rita De Martino
Angela Rocco Lara
Fabio Gison / Francesco Lorusso (24-26-27 aprile)
Marco Spizzica / Gianluca Nunziata (26-27 aprile)
Marcello Pepe / Giovanni Traetto (24-26-27 aprile)
Ferdinando De Riso
Carlo De Martino / Pasquale Giacometti (24-26-27aprile)
Danilo Di Leo
RUNNING TIME: ABOUT 2 HRS.
ACT ONE: ABOUT 50 MIN.
BREAK: 20 MIN.
ACT TWO: ABOUT 50 MIN.
A simple unpretentious place in a Southern city. All the girls of the city are in love with the soldiers of the garrison. On the left are the girls’ apartments, while on the left the soldiers‘ barracks. On the left the girls are spying on the soldiers, while on the right the soldiers feel they are being observed.
In the right foreground a mysterious girl is hiding behind a fan on a balcony. The soldiers go out onto the square where the girls join them. A joyous dance begins, spontaneously seductive, full of the joys of spring and youth. Swanilda is in love with Franz and declares her love to him.
Swanilda looks at Franz who observes the girl on the balcony. Coppélius appears who in turn looks at Swanilda: thus a merry-go-round of feelings is set up. In his excitement Coppélius loses the key to his house, which Swanilda picks up, and together with her friends goes into Coppélius‘ house. Fascinated by Coppélia, Franz decides to join her on the balcony.
Coppélius’ house. Again a simple un elaborate place: just a table set for two, with a full curtain extending down from the ceiling. Suddenly, as Swanilda pulls the curtain back a wall opens up and reveals Coppélius‘ entire range of work tools. The doll descends from above onto the stage. Swanilda discovers that Coppélius makes life-like dolls and finds the spare parts for “a dolI“. Intrigued by Coppélia the doll, Swanilda goes up to her, lowers her fan and discovers that the doll is a portrait of herself: so Coppélius is in love with her.
A noise is heard and Swanilda hides. Coppélius comes in and starts preparing to have supper with the dolI. He sits her down at table, pours her champagne, gently wipes her lips, and in a word contrives Swanilda’s presence.
Then Franz appears unexpectedly. Taken by surprise Coppélius hides the doll behind a screen and welcomes Franz as an expected guest. He gets him to drink, gets him drunk, and slips a magic potion into his wine. Franz loses consciousness, and with his magie arts Coppélius transfers Franz’s soul into Coppélia’s body, but Swanilda appears in her stead and dances with exceptional vivacity. Coppélius declares his love for Coppélia-Swanilda.
Coppélius looks at Coppélia-Swanilda who in her turn looks at Franz. Once more a sentimental merry-go-round develops. Pleased at the success of her deception Swanilda destroys everything by hiding behind the fan.
Following a Spanish dance, a jig, Franz regains consciousness and before Coppélia who is now reduced to pieces realises that he is loves Swanilda, which is followed by a general burst of laughter.
The scenography potraying Coppélius‘ house is removed and we find ourselves before the first scene, where the girls and soldiers appear once more.
Coppélius takes the doll in his arms. Swanilda and Franz happily dance a wild ironic can-can.
The girls go off, each with her own soldier boy. Swanilda finds herself with Franz and Coppélius. The latter destroys Coppélia. The doll‘s head, identical to Swanilda’s, rolls onto the ground. In her consternation Swanilda makes a gesture towards Coppélius, but Franz holds her back. The two young people go off happily together, and Coppélius remains alone.
In love one is always looking for the same likeness.
(Teatro di San Carlo di Napoli)