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Michelle_Richer

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About Michelle_Richer

  • Birthday March 26

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  • Gender
    Female
  • Location:
    Spalding, South Lincolnshire, England
  • Interests
    Social Dancing and Ballet

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  1. Michelle_Richer

    Powerhouse Ballet

    Hi Terpsichore Further to the conversation we had on the train a few weeks ago, about a low cost way to get you dancers performing stage, without incurring the substantial cost of a performing venue, by making use of the Ultimate Dance Showcase events. The only cost incurred is each dancers registration fee of £8.00 for large groups (10 -19 performers)and £10 for small groups(4 – 9 performers), there are other categories too. However your time on stage is limited, if you are competing as you will loose a quarter point for every 5 seconds over your time limit. Maximum time for small groups are 3:00 minutes and large groups 4 minutes. This shouldn’t be too demanding for your less experienced dancers, however there are provisions in the entry for two standards, Novice and Competitive , Novice is for beginning dancers (less than two years) ONLY who have little or no experience competing, the complexity of their dance routine should be based on this. Dates and venues that may interest you: BIRMINGHAM 3rd November 2018 LIVERPOOL 22 and 23 June 2019 One point worth noting, there is no provision on site for rehearsing and you will have to make you own arrangements at a local studio. Our UDSC was at their London venue The Greenwood Theatre, so I hired two studio’s within RAD HQ, one for ourselves and the other for our sister contemporary dance company. Although the event caters for all age groups, the organisers do tend to group similar age groups together, our UDSC was a two day event, adults and teens were on the second day. For further info go to the Ultimate Dance Showcase Website : https://udsuk.co.uk/ Hope that helps PS Do say hello to Annemarie for me when you next see her
  2. Michelle_Richer

    Simply Adult Ballet

    It seams I’m in the wars again, since the studio is now completed and fully operational, well at least I’m not hiring studios for my own practice anymore and so some of our attention has turned to my garden and house. That said its just as injurious as ballet, it was something as simple as trying to break willow tree braches to let sufficient light in for newly planted water irises to grow. I guess the willow branch once it was down was a bit too big to break by hand, except for this ballerina. I bent it over to break it, and force my whole body weight behind it, it wouldn’t go at first but then it snapped with an exploding crack and I slammed into the river edge concrete path. My first though was to try and stop myself rolling into the river, then for a moment just lay there mentally checking everything and thinking here we go again more debilitating injuries. Gradually I got up but very shaken at least I could move but I realise I felt badly bruised down my left side and my little toe on that side hurt like hell but I didn’t think I had broken it. At first I couldn’t wear shoes, the compression on that swollen toe was too painful, it was socks on the carpet at home. The next day was Body conditioning followed by ballet class, although I was able to drive without too much discomfort in shoes, it was painful to walk, at least body conditioning most of us do that in socks or bare feet, that was fine until one of the exercise we do on our side, and of course we repeat it on both sides, on the left it was unbearable and I cheated it (which I told my teacher), by lifting my body above the affected area, ballet wasn’t too bad other than releve’s on the left foot which really effected the little toe. When I finally got home I checked myself in the wardrobe mirror, I couldn’t believe what I was seeing, my thigh from just above the knee at the side , to my bum was absolutely black with a massive brews, there was some brewsing on the little toe but it was very swollen, however I did manage all my classes that week. It has taken just over two weeks to loose the browses, although the little toes is still somewhat swollen. However another issue may have shown up this Sunday. Sunday is now the day that Adrian and I practice our PDD for our visit to Ballet West, we are now working on an extract of the Lakeside scene and Entrance of Odette from Act2 of Swan Lake. Adrian seams to have made a good job of his walk on as Prince Siegfried, finding his crossbow and gesturing with it until he sees the flock of swans, then we follow the standard choreography into the entrance of Odette, that was fine but unpolished until we got to where Odette does a sequence of 4 soutenu/ swan arm burree’s whilst Siegfried is trying to put his arm around her ( 3 times), As Siegfried piece is quite fast, Adrian bless him couldn’t get around quick enough, so I broke it down to three simple steps and a ¾ turn. As I was demonstrating it too him I stretched my left leg and something went in my left knee, it was extremely painful, I stopped and rested for a while, but I could still feel a presence in my knee, we resumed and it happened again, this time I was getting rather worried as this has never happened before. As we had done that piece to death, I thought it would be useful to make a start on the mime scene and feed it too him in quite small doses, I remember carrying it on beyond where I had taught it to Adrian , to where the “Wicket magician has made me into a swan”, on SWAN I step back with the right leg , left leg in deep fondu with the left extended back strait and pointed, I could barely get down with the left leg on Sunday (yesterday). However I tried that after my body conditioning class today and it was no problem and pain free, it just leaves a bit of a question mark of uncertainty. My only concern now is I have a Pointework workshop booked for Sunday, I just hope things hold up for that, fingers crossed.
  3. Michelle_Richer

    Bolshoi in cinema - Coppelia June 10th

    I looked for him but didn't recognise him.
  4. Michelle_Richer

    Birthday/Christmas pressies

    I know this posting is not related to the difficulties with Sansha, however it is in keeping with the thread description, that why I waited until Sancha related post had finished. I just had to share what I think has been my most beautiful birthday present ever given to me. I was given to me by my dear sister Polly just a few month ago, I think its absolutely gorgeous and I will always treasure it.
  5. Michelle_Richer

    Simply Adult Ballet

    Hi Coleman For my mind-set it would seam logical to plan for mixed participants, and if there is no guys present do a little more with the girls pieces, as inevitably they tend to be simplified to meat the short time schedule, that really isn’t rocket science. I guess I was spoilt in my early RAD rep workshops as we did get some advance notice. I do remember my very first one with RAD held in Cambridge where we did “Dance of the Knights” from Romeo and Juliet. For me the sequence from a video of dance seamed almost impossible to remember, then one day I had this idea of creating a diagram showing the path of the sequence with notation of the movement. Hey- presto, I found I could hold that picture in my head. When it came to the workshop, this piece required both male and female dancers, some of the girls had to dance the male parts, I quickly took my place as the lead girl on the right ( as in the two column of girls coming down the stairs) , wow I really enjoyed that, but was a little disappointed as we only danced part of it. We also did Juliet’s solo which we may not have had advanced warning off. The one remark I remember my RAD teacher saying, “I know we will see you again”, she was right, as at one time I would virtually hoover up any rep workshops going, I guess as time when on I just got more selective. I guess to a large extent I’ve move away from rep workshops to using a one-to-one rep coach twice a week and working towards finally presenting my work at Ballet West in Scotland once a year. This will be my fifth year, ordinarily I would have at least two PDD’s and 5 or 6 solo’s, however this year has been really difficult as I incurred a leg injury which meant I hadn’t really worked on anything since my last visit to Ballet West last August until after Christmas, and then for the first two or three month I was very guarded as to what I put my body through, and of course there was the other complication of extending my own studio which was also very time consuming. See studio picture internal and external. I see you mentioned “The Lilac Fairy” I’m taking that variation from the prologue up to Ballet West this year, that certainly wasn’t planned. This came about at the Alive Ballet Company had set a date for a Ballet Boot Camp and my job was find a suitable studio for it, I did try the Royal Opera House but the studios were extremely expensive , finally I settled on Sadlers Wells which were really nice studios at a fraction of the cost. Whist I didn’t intend to do this boot-camp I guess curiosity got the better of me and I contacted our guest teacher. She was extremely helpful in telling me the pieces we would be dancing. The Lilac Fairy was one of them, at the time I didn’t realist there are at least two completely different versions. When I met her on the day, I realised I had actually met her before, in fact I had a photo of us together when she ran an ENB Swan Lake Master Class. Fortunately the version taught (Russian) was the same as I had familiarity with, although what we were taught was simplified in places and had the opening port de bra removed, it gave me a head start. At least when I got back to my rep coach, the simplification was removed, I also managed to find music that would allow the opening port de bra as this was normally done prior to the orchestra starting, my version is loosely based on Paris Opera Ballet’s version with a little of my own, I really fell in love with the piece. But things don’t always go to plan, Last year I did both the Black Swan PDD and Solo, This year I wanted to include an alternative Black Swan solo, but I held it until last to allow my right leg to sufficiently recover. It has a 3 step promenade followed by a couple of fouettes all repeating 3 times without the gesturing leg touching the ground. At first it didn’t look too difficult, whist I had some success on the way, I simply didn’t have enough stamina to consistently complete this section, that coupled with breaks by my rep coach and also my occasional break to complete my studio meant in some instances I appeared to be going backwards. To make matters worse, months of work I had put in with The Nutcracker PDD with Adrian came to a halt when Adrian appeared to hurt his arm. This was a pirouette sequence of 5 single singles where I don’t actually stop between them , and Adrian then swaps his arm , the Right which was in fifth with finger down for my support, goes low, with Left which was pushing my left hand around for momentum, goes high, I go through a turn into a dip, It was on the arm swap he hurt himself. We stopped and called a halt to it until it was checked out. Fortunately the same week a specialist surgeon was calling at Adrian medical centre and Adrian was able to see him, An ultra scan was done on both shoulders and there is tears in both, so Nutcracker is out for this year. According to Adrian is shoulder is ok providing he doesn’t take his arms through 5th, so we are gently taking him through the PDD with the Entrance of Odette combining part of the Lakeside scene, so far so good. However with the alternative Black Swan solo problems, I’ve had to shelve that for this year and switch to the Bluebird female solo, that has worked out really well. Just coming back to your Flashbacks, I’ve had an number of those from pieces I’ve danced on stage but I have one in particular that really haunts me, it’s the Opening of Act 4 of Swan Lake , perhaps as it is a particularly long piece and it was broken up into three pieces, but not taught in sequence. This was done at a LAB intensive at The Royal Ballet School in Covent Garden, that music is not only haunting its almost spiritual in the feeling I experience, it really is strangely beautiful.
  6. Michelle_Richer

    Simply Adult Ballet

    Hi Coleman I’m glad you managed to make Elmhurst, I hope you enjoyed the Coppelia workshop. I was with RAD Adult Associates for a couple of years just before the Rep workshops were introduced on the same day. I must confess when I first started with them I thoroughly enjoyed it, attitudes seemed very different, for my first term I only signed up for Improver 2 and body conditioning, however I was asked it I would also like to sign up for Improvers 1 and I could do absolute beginners free, as this would help give the small number of absolute beginners in the class other dancers to follow. There were about 6 of us that did that to help out. Lunch time was a bit of a social gathering as we all met in the common room with the teachers; it was also used for changing as most of us had leotards under our day clothes. As I made a full day of it I used to ask if I could use the studios for my own practice, and that became a regular thing for me and lasted for about a year. The second year things became much different, the common room became out of bounds, we had to take food and drink into the studio at lunchtime, something I positively hated doing, it just didn’t seam right. I ask again about using the studios for my own practice, I didn’t get the positive and helpful response I was expecting, basically they didn’t want to know, although they didn’t forbid it. We had one teacher that started to introduce short pieces of rep into the Improvers 2 session which was the last class of the day , that was really enjoyable. I was really delighted when RAD had combined an afternoon of rep with a morning for the Adult Associates, needless to say I signed up for a full term of both. Firstly I enquired what particular piece we would be dancing, that wasn’t forthcoming and I really do hate going in blind without making an informed decision. As it was I was overtaken by circumstances as I sustained a nasty leg injury which stopped me dancing for 4 to 5 months. I persisted for a while in trying to get advance info on what was to be taught but nothing significant was ever fourth coming, so in the end I dropped Elmhurst completely, but never the less I do miss it.
  7. Michelle_Richer

    Simply Adult Ballet

    Oh okay, you could always do both. I would have like to see Karis again. I see they do a lot of overseas retreats too, it may be worth a look. I'm thinking of doing a couple of ENB's taster classes, as I really miss the old place, not that I will be going back.
  8. Michelle_Richer

    Simply Adult Ballet

    Hi LinMM You could always make a weekend of it with a mini retreat at the Royal Conservatoire Of Scotland base on Scottish Ballet’s production of Cinderella. Ballet classes will be taught by En Avant Ballet founder Karis Scarlette and Cinderella Repertoire Workshops will be coached by Principal dancer Bethany Kingsley-Garner. Karis Scarlette was my teacher many moon ago when my monthly treat was doing both ballet classes that evening at the Royal Opera House, but it was extremely expensive. I wouldn’t mind doing that workshop, but it’s the week before Adrian and I travel up to Ballet West for our one week one-to-one intensive.
  9. Michelle_Richer

    Simply Adult Ballet

    Well done Balletgremlin that’s brilliant. As several have mentioned RAD’s discovering Repertoire, I wonder if anyone has seen RAD,s PDD workshop at the Ballet Cymru studio in Newport, a really large and gorgeous studio for a such a small ballet company. https://www.eventbrite.co.uk/e/rad-dancing-together-2018-registration-42037959669?aff=erelpanelorg Its on today Sunday the 29th April, sadly I didn’t see it until yesterday, I would have dearly like to have attended all three grades and made a day of it.
  10. Michelle_Richer

    Simply Adult Ballet

    Oh yes, its normally made to order, however they had one in stock so I bought it and arranged delivery for the 18th. My only real shortage now is the 6 mirrors, on Friday (Day3 of the uPVC build as in the picture) when the roof was installed, I was able to check the track clearance, and there is no problem at all. Unfortunately when I went to order the mirrors, the supplier is out of stock and so is the manufacturer. At the moment I’m not too worried as I can’t install them until the Harlequin sprung is installed, it’s not due for delivery until the 25th. One thing I hadn’t anticipated, I will need scaffolding to install the ceiling lights and rotating mirror ball from the old installation. Luckily that’s no problem.
  11. Michelle_Richer

    Simply Adult Ballet

    Finally I have my studio installers on site to install the 4 meter uPVC extension, unfortunately things haven’t gone as anticipated, as there is some compatibility issues between the existing structure and that of the new that wasn’t picked up by their designer. It has meant all but the door end the end section of the old structure has been scrapped. Fortunately as the error has been theirs, there is no additional cost to me, but it will have extended their time on site for a further day. As thing are now, the old structure has completely gone and the existing sprung floor covered by tarpaulins to keep it dry. The loss of the old structure leave me quite sad, however they are hopeful that the roof will be on by the weekend if the weather holds but they will be one uPVC section short, which they expect delivery in the next two to three days. The new structure is slightly higher than the existing one was, so hopefully the two spars that extend across the room at ceiling height will give enough clearance so as not to foul the top of the mirror slides, I really hope there is no more surprises this week, as the week started off badly when I had to cancel my hall booking on Tuesday for a practice pre-run of our rehearsal Tuesday evening. This was due to flooding of the River Glen that flows past my property. Although the property itself is on quite high ground, my path and seating area next to the river was flooded, part of both landing stages were floating precariously off the river bed, which also posed a problem to one of my boats, when Adrian an I see that, that took immediate priority and the river was running fast and still rising. We did manage to get lines attached to both landing stage to secure them, should that attempt to float away. Just before leaving for London we checked the river again, part of the boat was sitting on the edge of the landing stage as the water had fallen, it was listing quite badly, at least we were there in time to gently push it off . As the water was likely to rise again on the next tide, I would then be in London at rehearsal, it was necessary to prevent that happening again with a large pole for the boat to slide up and down on. The loss of the pre-run through that morning really showed up at rehearsal, I felt I was rubbish, even though I had watched our video of last weeks rehearsal on the train to London, its just not the same as doing it. At least most tings are in place now for the new studio, sprung floor ordered, additional venetian blinds ordered, ballerina statue ordered for the entrance, only items outstanding are 6 mirrors which will be ordered once I can check clearance with the spars, and curtains to give it the theatre feel to videos taken in there, but there is no hurry for the curtains.
  12. Michelle_Richer

    Barre Less Class

    Wow interesting observations, I guess mine are not too dissimilar; however I would question ones objectives. Like Fiz, I enjoy the barre, however for me it’s not so much about strengthening the core, turnout and alignment etc, but of course they do matter, it’s about dancing the barre with feeling, to really appropriate and beautiful music. What I really hate, is doing what appears more akin to a military drill for a penguin with arms permanently stuck out to second, with poorly chosen music. For me music makes a tremendous difference and thank goodness our teacher at the Alive Ballet Company does have some really nice and appropriate music, not all teachers do. As for barre in the centre, I done quite a lot of that too, and of course that’s harder and bit more of a challenge, but I’ve no real objection to that. Often the transition from barre to traditional centre practice is somewhat blurred. I see one of the comments suggested it was more efficient at strengthening the core etc, I would think it is when taken in isolation, but there may well be even more efficient methods of strengthening the core through body conditioning exercises etc. I think at the end of the day it’s a case of creating the right blend for ones own self. For me where I draw the real distinction is with paid one-to-one repertoire coaching, where the cost of an hours session including the associated studio hire can be as much as ten fold against that of standard open ballet class. If I’m paying that sort of premium then I want 100% rep coaching, but never the less adequate warm-up still needs to be addressed, for me its simple with my Monday session as the same teacher runs an open body condition class which I also attend, before my rep session. Thursdays is somewhat different as there is no pre-warm-up, but we tend to be less aggressive with the rep and walk through marking it two or the times to refresh ourselves with the sequence before going all out to dance it, it seams to work for both of us.. The only time we go back to the barre is, if a particular movement is difficult to grasp where the additional support of the barre may help.
  13. Michelle_Richer

    Simply Adult Ballet

    STUDIO Its beginning to look like progress at last with my studio extension, I’ve had an email from the Conservatory company to say they have all the uPVC materials in for my four meter studio extension and they are planning to install on the Wednesday after Easter and will confirm on the Tuesday. I will chase them on the Tuesday as that’s my Rehearsal day in London and would hate to miss their call. I took the opportunity today to revalidate Harlequin dance floors quote and check possible delivery dates, as I will not place the order until I have definitely got the uPVC installers on site. If all goes to plan the floor will be delivered on the 24th. Although once the uPVC installation has taken place, to some extent the studio will be partly usable. At the end if the month when the remaining floor installed it will be more utilised. Never the less the spend is still not over, we have additional mirrors to buy, venetian blinds for the extended sides and 3 sides fully curtained to give practice videos taken a real sense of theatre, well that’s the plan. BLACK SWAN SOLO On the down side my Black Swan solo is still fighting back, sadly I am without Emma my rep coach until the 16th, due to her Ballet Schools show and the Easter break. I thought the break would be useful to allow me to get on and finish this piece. In practice the promenade fouette combination needs a lot of strength in the supporting leg as you are on it for three whole repetitions of that combination, its extremely tiring. Although the adapted Alfredsons heel drop protocol has show significant improvements of the ankle, the strength behind the plie to assist the snap-up of the releve and sustain it through the repetitions needs greatly strengthening without sustaining repetition strain injury which I’m very mindful of. Similarly re-choreographing the menege used at the end to improve its musicality is defiantly challenging, its got somewhat of a strange count that I cant get my head round unless there is something I’m missing. The count goes something like this: 1,2,3,4,5,6,7,8 and 1, 2,3,4,5,6,7,8 and1,and 2 and 3, and 4 and 5 , slow single blast on each of 6 7 & 8. Then 8 fast counts which the artist uses chaines to finish into the final pose, I will most probably utilise that ending, but the other appears to be danced through.
  14. Michelle_Richer

    Simply Adult Ballet

    Thursday was the end of the period I gave myself to see if my body had recovered sufficiently to take on an unusual version of the Black Swan solo for my stint at Ballet West this summer. The first Thursday was spend by myself and my coach learning the choreography excluding the menege at the end, as I had rejected that part as having poor musicality. The first session went better than anticipated, as we had covered all we had intended, however I miss interpreted the three promenade / Fouette combination. I assumed after the 3 step promenade, the gesturing leg was taken through a passe into prep for the first fouette, then followed into a second fouette. That I could do, but with the loss of strength and stamina since my injury, it was always going to be challenging. It became apparent on my second session the following Monday with Emma my coach, that the solo dances the promenade / fouette combination a little differently. The first fouette could be thought of as not a fouette at all, however it does rely on momentum from the promenade, to sustain the first full turn as there is little additional momentum created from the arabesque of the promenade to the to retire for a the full turn. Only then is the second fouette launched in the usual way with extending the gesturing leg in front and whipping it round into retire to create momentum. Although on the third turn the gesturing leg is extended in a similar way, this time as rotates around and is extended into arabesque to commence the next promenade. In some ways it’s a if the second fouette it a convention fouette, but the other is almost formed in two halves, then end movement from the first and the launch from the end or third piece. My main issue with this in learning it, there is no time to stop and think between the promenade and first fouette, otherwise you have lost the momentum to carry the turn around at retire, arms and head are not sufficient on there own. At the end of my second session I still really hadn’t cracked this, the main reason I think, I was still in think mode breaking partially, and tying to break doing it wrong in the first place as two conventional fouettes and not having enough strength to sustain it, as the whole period of doing the 3 promenade / fouette combinations are done on the same supporting leg all the way through, the only time the gesturing leg come down to ground is for a coupe to launch the first promenade. My thoughts at this time was, I would not be in a position by the third and final session to make any significant progress to carry this forward, it was far too soon after my injury, I just didn’t have the strength. I left that session very disillusioned, but by this time I really had fallen in love with the piece. I knew to continue practice wasn’t enough. I had some serious ankle strengthening to do, but that wouldn’t be without risk, I virtually needed a miracle as I basically needed to get up on releve to sustain that full turn in retire with virtually no momentum to even stand a chance. For ankle strengthening I went back to Alfredsons heal drop protocol which I used some years ago for an Achilles overuse injury that was very effective. Well I used my variation of it by including rises as well as the drops, but with the same number of repetitions as the protocol. But I only had 4 days to get some form of positive result. Thursday the day for my final session came, I did a pre-run session down my local hall, although I thought there may be some minor improvement in ankle strength I was still of the opinion that I was going to have to drop this solo for this year, although I did look at altering the position promenade, to reduce the travel of the first fouette in retire, I know it was a bit of a cheat, but I was getting desperate to carry it on. When I finally see Emma my coach, I mentioned altering the promenade positioning to reduce the travel of the first fouette and showed her, then she said show me from the start and I want to watch and see what’s going wrong. Essentially I was stopping even if only momentarily in think mode, and then literally hurling myself around for the fouette, I just simply didn’t have enough momentum. I think part of the problem was psychological and confidence, as my brain knew what I had to done, but my body used to slow or stop while I thought about it, Grrrr it was really annoying. Emma came up with a brilliant idea, dance it from the top so as not to get too pre occupied with that particular step, but just keep going. After a few full tries it really was starting to get better and better. Whilst I can’t 100% consistently execute this piece, I have achieve a several successful run though's and know what it feels like. Emma was really pleased with the breakthrough and has agreed to extend this piece for a further week (two more session) as she and I now believe this stands a good chance of success. We did spend a few moments on Thursday looking at the menage music at the end as I really don’t like the musicality of choreography of this piece. I tried a few combinations but it will need to be a menege of some kind to fit the length of the remaining music, for the moment that’s still on the back burner. Progress with the Nutcracker Grand PDD seamed to be struggling this week, both Adrian and myself had been working pruning trees all day until our 2 hour session down the hall that evening, I think we were both over tired to make any real progress but never the less we danced it through several time , but it did give us ideas how to layout the new studio when the extension if finally built. At least I did get to enjoy one of my favourite winter jobs when its really cold as it was with the beast from the east No 2 this weekend. That was standing round an incineration bin in the garden burning tree small tree branches and cuttings, and being really warm and cosy in defiant of the weather.
  15. Michelle_Richer

    Simply Adult Ballet

    Hi Linda You should have checked trains going the other way from Peterborough to Kings Cross , those alone are at 3.25am, 4.10am, 5.10am, 5.40am, 5.47am, 6.10am , 6.15am and 6.37am. There are also trains to and from major destinations across country too. As for staying in a waiting room, even if these trains were not running , wouldn’t be a big issue for me and I really wouldn’t feel particularly unsafe to the pointe of spending an unnecessary £60 on taxi fares. If I were put out on the street as I once was in Brighton, particularly in our present winter climate, then that would be a risk too far, not from being hurt by anyone but exposure to the elements as I’m not accustomed or equipped with sheltering for hours in shop doorways, that would really be degrading. I am more concerned about the risk I am taking this week, rather that staying for a few hours in a waiting room. I have put off practicing a challenging solo (at least for me) for my week at Ballet West in the summer. It is an unusual Black Swan solo, that has a promenade and two fouettes repeated three times in succession. I know that this will be extremely wearing on my legs since my injury last year. I have started it this week, and said to my coach that we will give it until the end of next week, if it looks like its likely to result in further injury, then we will drop it until next year as damage limitation and drop in the Bluebird female solo instead which is far less challenging, plus I have danced a couple of different versions of Bluebird before. So far I have found technically excluding the ménage at the end very doable, I love it. My only real issue is the stamina to consistently repeat the promenade / fouette section for three times. Although I have done it, it is extremely tiring, usually after the first set I’m starting to get extremely bushed. The plan now is to try and do a small number of these sets each day to build sufficient strength by my session on Thursday, so I can at least sustain these for a few solo run-throughs. The ending of the solo I will be changing, not that it is too difficult, Its simply I really don’t like the musicality of it, otherwise it is a really beautiful piece.
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