The Night I Saw Zakharova

Svetlana Zakharova as Nikiya in La Bayadère, The Finnish National Ballet. Choreography and production: Natalia Makarova. Photographty (c) Mirka Kleemola / FNB. 

Svetlana Zakharova. First, I have to admit that I've never been a fangirl of the Russian ballerina. Despite her perfect physicality, 180° turnout, sky-high extensions, incredible feet and crystal clean technique. Her dancing is no doubt awe-inspiring and amazing, but I'm not that crazy for over-split developpés and grand jetés, certainly not in the most classical repertoire. A bit of upward curve goes a long way, but why shorten the line to make an exposition of extreme flexibility? The aesthetic of an extremely over-split jump is lost on me. Having said that, it would be very odd and unfair to dismiss a star like Zakharova because of the way she uses her extraordinary physical abilities. Albeit, she is not the first to ruffle traditionalists' feathers, the great Sylvie Guillem did it long before her. And I do adore Guillem, who does bear a physical resemblance with Zakhraova.... Anyway, ballet thrives on exceptional talent, discipline and artistry - all qualities that Svetlana Zakharova has in abundance. When it was announced that she would guest perform in The Finnish National Ballet's production of La Bayadère, dancing the role of Nikiya, I knew it was the event I could not miss. I was very lucky to get tickets.

When we entered the Opera's foyer, you could sense it right away: a tangible buzz in the air, excited anticipation, and familiar faces everywhere. Ballet students of all categories, retired dancers, working dancers, teachers, Zakharova-fans, aficionados and balletomanes. Not just any audience. I'm sure the dancers must have felt it too. The electricity. When SZ made her first entrance, stepping down the stairs of the temple, huge applause. But the Finnish audience did not bestow this honor on Zakharova alone. Her partner of the evening, Michal Krčmář, was welcomed just as warmly, and rightly so. Even Desislava Stoeva, who danced the role of Gamzatti, was applauded on her first appearance - something that I don't see happening in a regular performance. Like I wrote, special audience, special show.

I was seated five rows and one orchestra pit away from the stage, and had it not been for the tall blonde sitting in front of me, I would have been in ballet heaven. The moment she leaned back, her head completely obstructed my view of center stage. I'm 1,61 cm tall, and my shoulders at level with the edge of the seat. Hers were almost two widths of a hand higher. I should have gotten an extra cushion for elevation, but that evening all cushions had been employed to the left side of the entrance. Let's just say that my neck received an extra workout. I tried to respect the space of the woman sitting next to me, and apologized for my neck-craning exercise. She was nice enough to understand, and did not seem to mind. As I was seated closer to the right side than the middle, I did have better vision of the dancers' left stage. Luckily, I came with a friend, and whenever I needed to stretch my neck to the left, I could bump head to head. I did my best to keep up with the action on stage and not miss anything, but it did keep me from fully immersing into the magic. Still, whenever Zakharova was in my vision, I could not keep my eyes off her.

A ballet expert later commented that she did not hit all of her balances in the first act, but I do not know the temple dance variations that well. All I saw was perfection in execution, musicality, a port de bras that is otherworldly, and feet to die for. There is something undeniable magnetic in watching a ballerina who has it all. The height of her arabesques - without compromising turnout: unbelievable. Her pointe technique: beautifully articulated. Yes, extensions were high, but not over-split or flashy. In the second act "scarf pas de deux", Zakharova's developpées into seconde almost touched the scarf, and I held my breath as Michal Krčmář stretched his arms high above his head to accommodate Svetlana's incredible reach. The pas de deux was executed flawlessly, there were no entanglements. As for Zakharova's grand jetés: I would be a happy dancer with half of her split and hang time. My initial preference for a 180° grand jeté remains. The classical line is, in my humble opinion, more beautiful than folding legs up on each end. Although, a slight upward curve initiated with the front leg can look absolutely stunning. It is a question of degrees really. I have to say that I expected SZ to execute her grand jetés in rhythmic gymnastic style, but at least there were no glaringly obvious over-splits. Not that it would have mattered that much. It's never just about one step or saut. One more note about her physicality which I was not alone to make: Zakharova's arms look very thin, almost to the point of distraction. A freak of nature, as one viewer commented, or a product of genetics, training and life-long discipline. Their fragile shape do lend SZ a quality that is most suited to the portrayal of swans, sylphs and other not-of-this-world fantastical creatures. Her port de bras is wonderful: sensitive, musical, expressive.

Technical perfection aside, Zakharova's portrayal of Nikiya came across as somewhat reserved. I have noticed this quality before, and wonder if it's rather a question of personality, not interpretation. Perhaps the reserve is intentional, a reflection of her star status, a way to retain mystery. Then again, despite the glitzy mid-riff baring costume, Nikiya is a temple dancer, not a show-girl. She has committed her life to servicing the gods, falls head-over-heels in love with Solor, is betrayed by said love of her life, and reduced to an after-life vision. Other than the falling-in-love part, there's not much to make light off. Zakharova's Nikiya looks happy in her first act pas de deux with Solor, then tragically heartbroken, then unattainably solemn. Still, sitting in 6th row, I would have expected more of an emotional impact. Perhaps I payed too much attention on her feet when the tall blonde was not in the way of my vision.

Svetlana Zakharova, Desislava Stoeva and Michal Krcmar. Photography (c) Mirka Kleemola / FNB.

Desislava Stoeva, on the other hand, displayed no reserve in her interpretation of Gamzatti. Stoeva has strong features, which were emphasized by even stronger make-up, and she projected all the way into the nosebleed section. At times, I felt, almost too much. Gamzatti's confusion, indignation and pain at seeing Solor reacting to Nikiya's presence was played in hands-off-my-man-bitch looks and deathly stares at Solor. Fierce, and a big hit with the audience, but veering on caricature. Gamzatti is royalty, not reality TV. Both female protagonists love and want the same man, both are betrayed by him. And just as Nikiya is not a show-girl, neither is Gamzatti a "common" woman. But I have to applaud Stoeva for holding her own, for entertaining the audience, and for dancing all of Gamzatti's showy variations with elegant bravado. Ms. Stoeva has certainly earned her promotion to Principal Dancer, which was announced after curtains and made public the next day.

As the audience was giving standing ovations to Zakharova and the evening's stellar cast, another announcement was on the way. When you see the artistic director and entourage walk on stage, you know to expect something special. Kenneth Greve, AD of The Finnish National Ballet, first presented Svetlana Zakharova with a huge bouquet, then proceeded to give a celebratory speech... leading into the presentation of the prestigious Edward Fazer Award to Etoile Dancer Michal Krčmář. The Fazer Award is given biannually, and is considered one of the highest recognitions of artistic merit. Furthermore, Michal was not only awarded for his considerable skill and artistry, but also for advocating and coaching the next generation - even though he is still himself part of that generation! I'm fortunate enough to have seen Krčmář on stage and also met him in person, and I can only say that the award could not have gone to a better dancer. His exuberance on stage, the ballon of his grand allegro, the double cabrioles, the dare-devil turns and manège - all despite a lingering ankle injury.. Fantastic! Not to mention his boyish charm, his joy in partnering Zakharova, the face of Solor when he realizes his mistake... I'm always happy to see him perform!

Michal Krcmar and Svetlana Zakharova. Photography (c) Mirka Kleemola / FNB.

In the light of Zakharova's bright star, one could almost forget to write about the fourth star on stage: the corps de ballet. But, there is no Bayadère without the 2nd act Kingdom of the Shades, no otherworldly magic without the Shades' mesmerizing entrance, one of the most beautiful scenes in ballet. The corps of FNB danced beautifully, and I was delighted to be in direct eyeline with the right line, at the end of their entrance. I was also relieved that the tall blonde had decided to switch places for the second act, so I did not have to crane my neck back and forth. One tiny gripe: there was a rather noticeable difference in the height of arabesques between the first, second and third shade. To be more precise, the arabesque of Shade Number Two was considerably lower throughout. Clean, controlled, beautiful - but not matching the Shades arabesquing before and after. I know that the corps is arranged primarily according to height, to create an illusion of uniformity, but the steps need to be identical as well. I do not know if this difference presented itself in earlier performances, and it's a very minor gripe anyway. Not really a complaint, more of an observation. The Shades Act is one of the most hardest choreographies for a corps de ballet, and to be part of it a tremendous accomplishment and milestone for any dancer... Also, considering that there were young apprentices among the corps, it was very well danced indeed! The three solo Shade variations were all performed with aplomb. I especially liked Rebecca King's Second Shade variation: the arabesque balance at the end of her first cabriole diagonal, and the following two compound steps where she turns back to the audience, and holds her balance. Often it's danced so that the audience sees only the back, or the half turn is more of a quarter, but King really presents the steps to the audience. A lovely detail! Kudos also to Frans Valkama's Bronze God in the last act. After seeing the rehearsals, I have renewed awe and respect for this incredibly difficult variation!

To summarize the experience: I left the ballet star-struck, if not in love. It was an amazing, mesmerizing evening. I feel privileged to have seen one of ballet's biggest stars live on stage, at such a close range too. Thankful to all of the artists of FNB for turning an ordinary day into an extraordinary evening, lifting both body and soul. Believe me when I say that we had dance in our steps and dreams long after you guys went home. Thank you all!!

Finnish National Ballet: La Bayadère / Bajadeeri. January 29th, 2016.
Photo: my own. 

Kuopio Dance Festival, Day 1: Here Comes the Rain Again

Finnish National Ballet Summer Tour: Snork Maiden is about to be entangled by some flesh-eating Angosturas... Excerpt from Anandah Kononen's ballet Moomin and the Comet. Artists of FNB. Photography (c) Johanna / Pointe Til You Drop.

The first day of the Kuopio Dance Festival began with sunshine but ended in rain for the Finnish National Ballet's Summer Tour. Because of the moist stage, all pointe numbers had to be cancelled, and the 1-hour programme was shortened to 15 minutes. The same thing happened last year in Helsinki. Which is why I made a detour to Lahti that summer, to see the full show performed on an indoor stage. Sadly, today was the last tour date, so no chances for a rain-check. But at least we got to see four great numbers instead of none!

The first piece shown was a contemporary solo choreographed by Ville Valkonen, commissioned as a birthday present for dancer Kailey Kaba - what a cool gift! Beautifully danced too, especially under less than ideal circumstances. Finnish summer is fickle, either cold and rainy or warm sunshine. Usually, a mix of everything with no guarantees whatsoever. Any outdoor performance comes with weather reservations - although not for audiences. Finns are quite used to dressing weather-appropriately.

The ballet highlight of the short show was a pas de deux performed by Tuukka Piitulainen and Elena Ilyina. Although Elena did not dance en pointe, it still took a lot of guts from both dancers to lift and leap across a moist stage! Elena has an amazing jump, and a beautiful presence on stage - she didn't seem bothered by the cold and rainy weather at all! Tuukka was her gorgeous partner, strong and secure. Just the kind of man you'd want, in any given situation. Okay, he's way too young for me, but a girl can dream, right? 

The Summer Tour ended with an excerpt from the Anandah Kononen's Moomin ballet: fabulously costumed, flesh-eating Angostura flowers (but no too scary for the kids) and a cute pas de deux by the hippo-like Moomin couple. The kids loved it, as did the adult audience. As an extra special surprise and condolence for the shortened show, the company donated a bunch of signed pointe shoes to the fastest in line. Oh my goodness. Young ballet girls rushing to the stage like starved wild animals! Four pairs of pointe shoes were clearly not enough, so the dancers donated every pair from that last Moomin ballet: tangerine-dyed Angostura pointes. Their new owners could not have been happier!

Dance festival newbie

It's the first time I'm in Kuopio, but I almost did not make it here. I was delighted when I received the press invite, but Kuopio is a long distance from Helsinki. I had to arrange travel and accommodation on a next-to-zero budget. Luckily, I got super-cheap round trip bus tickets for a mere 20€. Which is a bargain, considering the drive takes over five hours! Then I found accommodation via the "International Network of Ballet Dancers": a friend of a friend (actually more than one, it's a small world of dance) is hosting me for the entire festival. There's even a cherry on top: the flat is right at the town square, and within easy walking distance to all dance studios and theatres. In fact, my jazz class is in the next building across the street!

All that jazz

I was crazy enough to sign up for Pattie Obey's jazz intermediate (course aimed at adults), even though I took my last jazz class back in the 90s. Talk about dancing outside your comfort zone! Usually, I don't go that far above my skill level, but there was no basic jazz course available, and I figured that my strong background in ballet would help. Guess what? It's surprisingly hard to do pliés and tendus and pirouettes in parallel! My legs keep turning out all by themselves, so deeply ingrained is ballet in my body and brain. And oh boy with the coordination of arms and head and the hips are moving and developpés are in releve plié... I had also forgotten about syncopated steps and triplets and whatnot. But Pattie teaches old school classic jazz (in a variety of styles), and you really need to be fluent in ballet as well. At least I got some moves right! It's a lot of fun though.

And Ballet Too

Of course, no dance festival without ballet class. I was happy to see that Arja Tervo is teaching ballet, because I really enjoyed her classes when she substituted for my regular teacher (Marie-Pierre Greve) this past spring. Arja is a super teacher, she's very friendly, gives lots of hands-on corrections and that all-important feedback and encouragement. Classes are challenging, but there's no progress if you don't push yourself every class you take. What I love about Arja's classes: she really cares about her students, and you can tell that she loves teaching all levels and ages. She makes us work hard, but we always have a great time. You know what else is fun? The change of scenery. Taking ballet in new surroundings, with different people.

Things I love about Kuopio

Ballet. Jazz. Everything within easy walking distance. Good coffee, and cheaper than in Helsinki. Found this great lunch place, three-course gourmet food for 10€. Friendly people. Views to the lake. And I keep bumping into old dance friends everywhere!


Coming up: Day 2 & 3, plus review of Compagnie Käfig's mindblowing, jaw-dropping, hip hopping, boxing Boxe Boxe!

On my daily walk to ballet class.

Dance studio

View from class. Really.

Studio. The floor is really springy!

Walking to and from class has never been this scenic.

VIP tickets for the shows!!

Cute Cafe Kaneli (cinnamon).

Street view in Kuopio.

Ballet, Unplugged

The Big Ballet Studio of the Finnish National Ballet.
Photo credit: mine.

A few weeks back, I had another opportunity to watch company class at the Finnish National Ballet, always a fascinating experience. This time there was a huge bonus treat: after class we got to observe the principals' rehearsal for Kenneth Greve's new ballet Snow Queen, with choreography still in the making! It's one of those fly-on-the-wall moments you dream of.. Seriously, I would be more than happy to hang around the Opera building for the entire day. I could do laundry, fill water bottles, collect stray hairpins, write more blogs, whatever.

We were met at the personnel's entrance half past ten by one of FNB's coordinators, and duly escorted to the big ballet studio. I would have known my way around already, but you gotta follow protocol and stick with your group. We got to class just as the dancers were moving to the center. There was a guest teacher; the charming, energetic and suitably strict Mr. Sandor Nemethy. There were, however, fewer dancers, as Saturday is a voluntary training day (unless there's rehearsal afterwards). Those dancers who are performing later in the day have of course their own warm-up class in addition. But, I was happy to sight familiar (and favorite) principals and soloists and up-and-coming corps dancers, all amazing artists with distinctive qualities of their own. I don't know how happy they were to have an improptu audience, but at least I couldn't sense any discord. On the contrary, some seemed to enjoy the extra attention, giving us a full-out performance! To anyone of you dancers (Mira, Tiina, Salla, Wilfried..) reading this: thanks for making my day!

You know what I like so much about watching company class, aside from the mad skills and gorgeous ballet-bodies? You get to see the dancers work on their craft, in plain view, without all the glamorous accroutements of a staged performance. It's ballet's equivalent of MTV Unplugged. The other reason I like to observe pros in class is kinda obvious: I try to watch every move they make, and soak it all up. The refined épaulement, the port de bras, the linking steps and all that happens in between. Seriously, you learn a lot from watching other (professional) dancers. You also learn that they are not perfect either, make mistakes, take risks, fail at pirouettes - and they get corrections just like us. Another thing I observed is that when the pianist is playing, the dancers are dancing! If the exercise ends mid-diagonale, you either run out of the way or stand still and trust your fellow dancers not to knock you over! The energy is just awesome, and every time I get to observe I want to join in so badly.. Not that I could ever keep up. It took me about four diagonals to pick up the brisé-exercise which they all got after verbal instructions alone.

After class, six dancers remained and it was time for rehearsal. When the choreographer (and Artistic Director) Kenneth Greve explained that there were still minutes of choreography missing, I was way more pleased than if it had been a rehearsal of ready-made steps! How cool to see the creative process in progress..

It Never Gets Easier, You Just Get Better

As we work our dancer's asses off and advance technically, class gets more difficult in proportion. Basically, you never get a break! As soon as you get comfortable, new steps and choreography mess with your head and feet. And once you get that right, you realise that even your basics are not without flaws.. It's a constant roller-coaster ride, and not the first time I've used that metaphor.

But you do get better. How do you know? Look back to when you started at point zero. Did you know about pliés and degagés and pirouettes and pas de chats? Nope, didn't think so. If that's not enough to convince you, take a class that is one level below your current comfort zone. Steps that you deemed too difficult back then are most likely now part of your regular repertoire! Assuming of course that you have been paying attention and working your butt off.. ;) Even if you are the most self-critical dancer you should be able to see some progress. Allow yourself to revel in this fact, at least once in a while. Then get back to work!

Before you do, go check out 4dancers great website. This month the focus is on the adult ballet student, and yours truly is featured as well. You can find my interview here: Adult Ballet Student. Be sure to read the other interviews too, they are all inspirational adult dancers!

But before you do that, I have to share some awesome news with you. I'm going to the Finnish National Ballet's company class tomorrow morning! Barbora Kohoutková is teaching pointe class, and I get to observe, take notes and write all about it! It's going to be my first installment of a new serial "Behind the Scenes", featuring dancers (and pointe shoes) of the 90 years old Finnish National Ballet. Be sure to check out the video below, it's a fun and multilingual birthday greeting from a very international company!

Pointe Shoes and Other News

After somehow managing to dance in half-dead pointe shoes for weeks, I finally gave in before my ankles caved in. Out with the old, in with the shiny, pretty and new! And guess what? Since I started pointe in August 2010, this is only my fifth pair of shoes! The first pair I wore for about 5 months, and we had classes once per week. The second pair lasted as long, but then my class number increased and my strength improved. The last two pairs I have worn, Balance Europeans, are good for about two-three months, then it's time for goodbyes. Don't you just hate it? The moment shoes start to feel like part of your foot and your technique, you have to begin all over again.. But I do like mine, we have a nice relationship going. ;)

When I took them to my first class this week, my teacher told me to pay extra attention to my right foot. This one is not as strong as the left, and needs much more coaching to get over the box and stay in line. It has also to do with my leg length discrepancy (not freakish, but noticeable if you know to look). Anyway, it is really important to do every little relevé to your utmost cleanest maximum as the shoe is still molding to the foot. My teacher even told me to skip the more advanced stuff (I was doing a basic level class on pointe), until the shoe was broken in properly. The following day, the shoes felt near perfect already!

Which is a good thing too, as our classes are advancing all the time. There is the Paquita variation, and then there are pirouettes. Last week our pointe teacher Marie-Pierre decided to give us the same pirouette exercise we had done in the previous advanced class. Yikes! You start en face, from fifth, degagé devant with the right leg, supporting leg in plié - step onto piqué - passé retiré with the other leg, and repeat twice. Third time, you don't piqué, but do a full relevé with the supporting leg as the degagé leg envelopes back into retiré (arms in couronne). From there you go directly into fourth, and turn. The thing is, we have never really practiced pirouettes from forth in Madame's class. Not even preparatory ones at the barre. All we have done is quarter and half turns in center, but from fifth. Now we just went straight into the deep end!

Luckily, my other teacher has been introducing pirouettes in her pointe class - at the barre. And I have been practicing them in the basic level class I take (wearing pointe shoes). So it's not like I'm a pointe pirouette virgin.. ;) Still, it was a bit un-nerving. I mean, Madame must have thought we were ready. That, or she was testing us. Either way, it felt almost like an audition! But, you know what? I nailed my pirouettes! Singles, with one accidental double!

Another new step in center is a relevé from fifth into effacé, with the front leg extended in degagé. That one is much trickier than rising into passé retiré, because you are switching directions and the other leg can throw your balance off. It is very exciting, though, learning all these new steps! I was also very pleased when my teacher mentioned that my technique is much better now, especially considering how little time I have been up on pointe. I guess eighteen years of training in soft slippers has something to do with that.. :)

Other News

Awesome Nellie's lovely ballet skirts have arrived! Best prize I have ever won! Quick re-cap: Nellie decided to do Operation Tidy Room, Tidy Mind which resulted in an insanely generous Ballet-tastic Giveaway. I was the lucky person to write back first and got to adopt all three of Nellie's skirts. There is the black and very short pull-on from Bloch, and a very unusual by Grishko with a red under-skirt. My favorite has to be the red polka-dot, which is Designed by Alice. I was going to dedicate a post with pics to these ex-pat Brit skirts, but got pinned down by a most annoying tummy bug. Thankfully I'm feeling much better now. If I could only decide which skirt gets to take class first.. :)

Coming soon..

I'm very, very excited about this. I talked to a lovely dancer from the Finnish National Ballet about how I would like to do a behind-the-scenes post for my blog. Daily routines, pointe shoes et al. Well, she thought it a great idea and already agreed to be interviewed. Then we talked some more, about the ideas I have and if I would like to talk to other dancers too (of course) and what sort of permission I would need.. She was very nice to pitch my blog to their Press Manager - and we have a take-off! I will be writing a series of posts for both my Finnish blog and this one, so stay tuned. More up-dates coming soon..

Shady Dame at the Ballet

Holy Kingdom of the Shades! This past Sunday I got my first taste of the entrance of the Shades in La Bayadère's second act. If you're not familiar with the plot, it's the part where grief-stricken warrior Solor is tripping on opium and seeing multiple mirror images of dead Nikiya, the love of his life. The Shades, as they are called, descend down a ramp - as if from the heavens above - reapeating the same step over and over. Arabesque, plié into fourth, port de bras, step, step, step into arabesque, plié into fourth and so on..

I lost count after 24 or so, but there should be 32 arabesques for each dancer to perform. What kills me about this entrance is that you are supposed to do the arabesques all on the same leg! Lower back spasm alert! Thankfully, our teacher/dancer Mira showed mercy and allowed us to switch legs with each direction. Phew. Anyway, we are practicing purely for fun and educational value, and not in preparation of any performance. The real Shades will be stepping onto stage at the end of March, when the Finnish National Ballet re-introduces La Bayadère into its repertory.

You know, I just realised something weird and wonderful. I have seen this ballet previously only on TV and DVD: the staging by Natalia Makarova for Royal Ballet (with Darcey Bussell as Gamzatti), and a fairly recently discovered Nurejev's version for Paris Opera Ballet (view on youtube). The weirdly wonderful part: my first live experience of this ballet is now me dancing one of the Shades! Well, practicing, pretend-play-dancing, whatever. But we were in the actual National Opera's main ballet studio and there were professional ballerinas present. For me, this is as close as it will get to the real thing, ever.

And it was lovely. The music, the steps, the many arabesques - I must be in better shape than I had thought, because one day later, no muscle aches! The beautiful port de bras, the meditative quality of repeating the same steps, over and over. It was far, far from perfect, there were wobbly bits and less-than-straight knees and near-collisions with fellow dancers, but it was a beautiful experience nonetheless. After my past and recent shy encounters with Bluebird, Sugar Plum, Little Swans and Paquita, stepping into the Shades feels like I'm ready to come out of the shade.

Cabrioles, Cake and Cinderella

Sunday evening, and my vacation week is just about to close. Normally I would not suffer from the Monday Blues, but this time I have come down with a very annoying cold. Which means that there will be no dance classes for me! Work, if I can manage it, but afterwards straight home and back on the couch. Did I already mention that I hate missing classes? You guessed? Alright then..

Terence Kohler: Cinderella – A Tragic Tale
Pictured Tiina Myllymäki, Michal Krčmář
  Photo: Sakari Viika.

But let me recap my vacation week just a little, because it was all dance from Monday to Friday! To kick the week off, I took my usual intermediate-advanced class - but followed by a basic level class in pointe shoes. The last time I did this was way back in summer, when there were no actual pointe classes available. But I liked it, and it helped me a lot. Even doing a simple developpé in center becomes a challenge in those boat-is-rocking pointe shoes! Which means you get a better sense of feeling the floor, and your balance will improve. So I asked my teacher if it would be okay to squeeze into basic level, and then tied my ribbons.

It was fun! We did a basic barre, but there were some pointe exercises as well: sous tenus, piqués, and added relevés. I did my fondues facing the barre, because I´m not strong enough to do a clean set with just one hand for support. But I tried to do the entire and very long frappé set entirely in relevé. Cramp alert! Center was good, and no cramps. The pirouette exercise was too quick, but I braved single turns nonethless. Doubles? Not there yet. To finish the class, we did chaînés déboulés: three turns, pause (come down) and repeat. On my right, more newborn giraffe than graceful ballerina. On my better left, hello chaînés! Now I´m seriously considering adding this class to my permanent rep. That would mean a total of three pointe classes each week. I might have to buy my new pair sooner than I had budgeted for..

Tuesday it was time for Madame´s classes again. My favorite time! Right along with my Friday classes, and please never ask me to choose. I love them both; their styles are different but compliment each other in the best way! Anyway, Tuesday class was solid goodness. Our teacher was in an especially good mood and gave us a tough, pro-level class. Just the way I like it! There was a bit of Balanchine, some Denmark (as in Bournonville), lots of French school and plenty of Madame´s own elegant and fluid style - you can´t really ask for more. Having said that, my pirouettes from Monday have gone missing but I´m hoping they haven´t travelled too far. Miss you guys!

Class note: when jumping grand allegro, do not neglect the second leg! Let it go higher!

Pointe class with Madame was brilliant. Hard work, but she calls it "money in the bank". Seriously, you have to do the killer relevés. Nothing comes from nothing. There was this one move where we did a big honking grand plié in second, on pointe, and all the way down. Then took one hand from the barre and used it to push and stretch our arches. In center we did a small variation with piqués and ballonés, which I´m finally getting.. And our usual balances up in fifth, with battements lent in all directions. I don´t know why it feels easier to piqué into balance and stay there, than to degagé from a closed position in relevé - but it does.

Wednesdays I usually recover from Tuesdays, but hey - vacation! As in sleeping late and relaxing. Which is why I decided to take another class with another teacher. Except she was ill, and my own teacher surprise substituting! I hope that other teacher is feeling better already, but at the time I was not complaining! It was a good class and I had a fun stretching-chatting session afterwards with a dance buddy. Get me talking about dance and there´s no end to that conversation!

Thursday we went to see the last dress rehearsal for the Finnish National Ballet´s new production of Cinderella. The choreography by Terence Kohler is not the traditional fairy-tale, but a psychological and dark retelling of a tragedy. It´s a story about loss and loneliness and the need to be loved. Despite its sinister overtones, there is hope and in the end, love heals. We were really impressed by Kohler´s cinematic storytelling, by Auerbach´s equally cinematic score and by the dancers. The choregraphy is a mix of modern dance and dance theatre, but the language of classical ballet is not forgotten. Cinderella´s pointe shoes play a significant role..

After our ballet at noon, we of course had to have some après-ballet cake and coffee. Cheesecake with sea buckthorn berrys and capuccino. Delish. Followed by pointe shoe shopping! My friend bought Bloch Heritages and I bought me some big-toe gel tubes. It really was a good day for ballet. And cake. Yes, you can have your cake and dance too! :)

This is the cake I had. One piece only!

Did I say short recap? Okay then. Friday was another double set of advanced class, followed by pointe class. I was already feeling the upcoming cold, lead in my legs and hardly any lift-off on my jumps. But I do recall something.. Yes! I love doing cabrioles to the side!

Class note: when doing rondes de jambes en terre, remember to stretch the working foot before you pass it through first.