Full of light, energetic village scenes, acts I and III are all about the dance. These breezy acts are perfect vehicles for the Bolshoi's impeccable corps, and for the feisty athleticism of another young star, Natalia Osipova (pictured), as she dances Swanilda. Although beguiling, the character of the young girl Swanilda is not a particularly attractive one; think head cheerleader, for a crass parallel. However, it's all good fun, overlooked by the life-like doll Coppelia from the balcony of the old man Coppelius's house, broken into by the village youths and the Coppelia-smitten Franz (Ruslan Skvortsov).
In Act II (set in Coppelius's workshop) there are creepy chilling elements as the life size dolls dance, and it is this act that forms the heart of the ballet. Coppelius returns and turfs the youngsters out, only to be taunted by Swanilda, masquerading as Coppelia come to life. Coppelius is meant to be sinister and somewhat malevolent, but Gennady Yanin played him as a rather pathetic, lonely old man. While this added an extra layer of emotional complexity to this otherwise fairly inane ballet, it did rather take the fun out of Swanilda's taunting. Finally she achieves her goal, revealing to Franz that the object of his affection is a doll, setting things up for the exuberant wedding celbrations of act III, which are not disimilar to those of Sleeping Beauty (no plot left to tell, random solos... but as part of a much shorter ballet).
Coppelia doesn't leave a particularly lasting impression, but is good enough fun, and holds some magnificent dancing. Delibes' music is lovely, and the Bolshoi probably danced this almost as well as it can be danced, with Osipova very much in the driving seat, reigning supreme as Swanilda.
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