THE AUSTRALIAN BALLET 1 2 SWAN LAKE MELBOURNE 23 SEPTEMBER– 1 OCTOBER SYDNEY 2–21 DECEMBER Cover: Dimity Azoury. Photography Justin Rider Above: Leanne Stojmenov. Photography Branco Gaica Luke Ingham and Miwako Kubota. Photography Branco Gaica 4 COPPÉLIA NOTE FROM THE ARTISTIC DIRECTOR Dame Peggy van Praagh’s fingerprints are on everything we do at The Australian Ballet. How lucky we are to have been founded by such a visionary woman, and to live with the bounty of her legacy every day. Nowhere is this legacy more evident than in her glorious production of Coppélia, which she created for the company in 1979 with two other magnificent artists: director George Ogilvie and designer Kristian Fredrikson. It was her parting gift to the company and it remains a jewel in the crown of our classical repertoire. Dame Peggy was a renowned Swanilda, and this was her second production of Coppélia. Her first was for the Borovansky Ballet in 1960; it was performed as part of The Australian Ballet’s first season in 1962, and was revived in subsequent years. When Dame Peggy returned to The Australian Ballet from retirement in 1978 she began to prepare this new production, which was to be her last. It is a timeless classic, and I am sure it will be performed well into the company’s future. Dame Peggy and Kristian are no longer with us, but in 2016 we had the great pleasure of welcoming George Ogilvie back to the company to oversee the staging of this production. George and Dame Peggy delved into the original Hoffmann story, layering this production with such depth of character and theatricality. It is so marvellous to have George’s knowledge and passion to reignite that original creative spark for a whole new generation of dancers. I have loved watching him work, and it has reminded me of how much I learnt from him as a young dancer coming to this ballet for the first time. It is also so wonderful to have Kristian Fredrikson’s breathtaking designs for Coppélia on stage again. His designs for the many ballets that he created for us continue to bring delight every time we stage them, and Coppélia is one of the most unique and lavish. We have also been lucky to have our former Ballet Master Mark Kay with us, teaching the ballet from the original Benesh Notation and ensuring that this season will be faithful to Dame Peggy’s vision. Another joy was having Francis Croese return to recreate the lighting for this production, bringing all the benefit of his long association with both The Australian Ballet and this magical ballet. I can’t think of a happier way to complete what has been an exciting and action-packed year for the company. I hope you enjoy both this performance of Coppélia and the upcoming festive season, and that you will join us again in 2017 to share the many wonders we have in store. David McAllister AM THE AUSTRALIAN BALLET 5 NOTE FROM THE EXECUTIVE DIRECTOR The Australian Ballet’s much-loved Coppélia creates a wonderful and fitting finale to our 2016 season. This charming, lively and sumptuous production is a delight for the whole family and will no doubt introduce a new generation to the magic of ballet. In 2016 we have been proud to present a wide range of productions, reflecting The Australian Ballet’s motto of “Caring for tradition, daring to be different”. We started our year with a visit to Brisbane, where we presented Cinderella, followed by seasons of our contemporary program Vitesse in Melbourne and Sydney. In April, May and June capacity audiences in Sydney, Melbourne and Adelaide welcomed back Stephen Baynes’ Swan Lake. Sydney enjoyed an additional program, Symphony in C, and Melbourne audiences were treated to a special season: the Houston Ballet performing Stanton Welch’s Romeo and Juliet. One of the highlights of the year was John Neumeier’s Nijinsky, a tour de force for the whole company which we were very proud to present in Melbourne, Adelaide and Sydney. The Australian Ballet has a long and proud history of international touring, and this year we added another chapter to it with our eighth visit to the United Kingdom. In July, the company completed a highly acclaimed twelve- performance season at the Coliseum Theatre in London, where we presented Graeme Murphy’s Swan Lake and Alexei Ratmansky’s Cinderella to very appreciative audiences. Our international tours are a significant undertaking, and I would like to take this opportunity to thank all involved for their extraordinary efforts to ensure the success of this tour, including our generous patrons who support our International Touring Fund, and our International Tour Partners. Fulfilling our objective to perform for as many people as possible across Australia each year, we have complemented our 2016 mainstage seasons with a Regional Tour to Victoria and New South Wales, and our Storytime Ballet for children has toured to metropolitan centres in Victoria, NSW, Queensland and South Australia. We have also continued to develop new and imaginative digital products to expand our audiences beyond theatres. I hope you have had the opportunity to go behind the scenes with The Australian Ballet on our wonderful new Ballet TV platform (australianballet.com.au/tv). The Australian Ballet’s world-class productions and our many seasons in Australia and overseas are made possible by the invaluable assistance of our many generous supporters and corporate partners. To our numerous philanthropic patrons and donors, who are the foundation of our ongoing success, thank you for your generosity and assistance again this year. Our special thanks go to our Principal Partner Telstra, whose support and friendship over more than three decades has helped us achieve our dreams. This partnership allows us to present exciting major productions such as Coppélia. Telstra also supports our annual Regional Tour; our recently created Storytime Ballet, designed especially for children; and the highly coveted Telstra Ballet Dancer Award. This award encourages young Australian ballet dancers to reach their full potential and has helped catapult the careers of some of The Australian Ballet’s brightest stars. We would also like to thank our Lead Partners: Qantas (also our Production Partner for Coppélia), who do such a wonderful job transporting the company safely around Australia and overseas; and Samsung, who supports our Out There – The Australian Ballet in schools program. As we present this production of Coppélia, our thanks go as well to our Media Partners Newscorp Australia and Foxtel Arts. We hope you have enjoyed The Australian Ballet in 2016, and we very much look forward to seeing you again in 2017. Damien Welch and Leanne Stojmenov. Photography Branco Gaica Libby Christie 6 COPPÉLIA COPPÉLIA Production devised and directed by George Ogilvie Music Léo Delibes Original choreography Arthur Saint-Léon Revised by Marius Petipa and Encrico Cecchetti Reproduced by Peggy van Praagh Additional choreography Peggy van Praagh Guest Repetiteur Mark Kay Set and costume design Kristian Fredrikson Lighting design Francis Croese ACT ONE – THE VILLAGE SQUARE In the souvenir programme for the The villagers are preparing for the Harvest first season of this version of Coppélia in Festival. The official party, led by the Town 1979, Dame Peggy van Praagh wrote the Councillor, celebrates the gift of a bell by the following note: Seigneur and his Lady. The celebration is momentarily interrupted Ever since the early 40s, Coppélia seems by Dr Coppelius, whose mysterious “daughter“ to have been part of my life. I did not expect causes a quarrel between Swanilda and her to dance Swanilda when I first joined Sadler’s fiancé Franz. The villagers, after continuing the Wells (now The Royal) Ballet in 1941. I was not celebration with the czardas, disperse to await even the understudy for the role. In June 1942 the Harvest Festival the following morning. London was subjected to severe air raids. One Meanwhile, Swanilda and her friends investigate of the company’s ballerinas, Mary Honer, was the strange house of Dr Coppelius. at the Café de Paris when it received a direct hit. She was lucky to escape serious injury but ACT TWO – INSIDE THE HOUSE OF suffered severe shock and was unable to dance for several weeks. DR COPPELIUS, THAT EVENING Dame Ninette de Valois, the company’s Swanilda and her friends search for the artistic director, telephoned to inform me that girl they earlier saw on the balcony. However, I was to dance Swanilda in Oxford in four days’ Coppelius returns and chases them – except time and that I should come immediately to Swanilda, who hides – from his house. rehearse the role. Robert Helpmann, who was Franz arrives and Coppelius wickedly to partner me as Franz, could attend but one endeavours to take his spirit from him and put it rehearsal of the pas de deux. The rest of the into the body of his “daughter“, his most prized company was on tour and I was unable to possession. Dr Coppelius is fooled by Swanilda rehearse with them. So on an evening in June and thinks his mechanical doll has come to life. 1942 it was a very nervous Swanilda that took The lovers are reunited and Dr Coppelius the stage. is left broken-hearted. Later I grew to enjoy the role, which I danced many times before I left the company in ACT THREE – OUTSIDE THE CHURCH, 1946 to become Ballet Mistress of the Sadler’s THE NEXT MORNING Wells Theatre Ballet in September 1951. At the The day of celebration has arrived and premiere Swanilda was danced by the Australian the couples are married.