Balanchine's Coppelia and Makarova's Bayadere: "After" Petipa
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Generations of Swanilda: Danilova, McBride, Hyltin After a very successful three week tribute to Jerome Robbins NYCB this week returned to one of Balanchine's most charming creations: his version of Coppelia , which he and Alexandra Danilova reconstructed from their memories of the Imperial Ballet. This is Balanchine at his most "after Petipa" -- there is none of the abstract minimalism that was his calling card. His Coppelia is a full-blown three act story ballet with carefully articulated mime, several folk/character dance numbers including a mazurka and czardas, and an unabashedly old-fashioned quality. The sets and costumes by Rouben Ter-Artunian are a shock of pastels that match Leo Delibes' lilting, gentle score. It is literally a world viewed through rose-colored glasses. Balanchine might have re-choreographed some of the steps (mostly in the third act -- the first two are very standard Coppélia choreography) but he clearly loved this ballet and that love