Post by Christine Svenna Daaé on May 11, 2012 15:57:17 GMT -5
CHRISTINE SVENNA DAAÉ
"Twisted every way, what answer can I give?"
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Player Name:
Years Roleplaying: 8 years like a BAWRS!
Gender: …..I'll let you guess.....
Contact me: PM (on Blondie's account preferably), Skype: Christine_Marie1992, Twitter: @christineimarie.... but most of the time you can reach me in the chat.
Anything else?:
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Basic Information
Age: 20/21 She's coming on her birthday (so we can make Hadders more depressed
), so......Canon or OC?: The Phantom of the Opera 1986[/size]
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Appearance
Body type: She is a little under the middle height, slender, not flat-chested but by no means voluptuous, and has long, slender limbs.
Eye color: An pale blue color
Wardrobe: Christine is often found wearing costumes when she is in rehearsals at the opera, whether it be a simple ballet girl outfit, the boy's clothes of a trouser role, or the beautiful gown of a grand diva when she is in the lead. When going casual after a performance, she has a simple white lace dressing gown she wears that ties in the front. For her off-stage attire, Christine wears typical Victorian bustle-skirt dresses with elbow-length sleeves that have a lace flare at the ends, and what would be considered a plunging neckline in the era. In cool weather, she wears a floor-length hooded cloak and sometimes a scarf – specifically a red scarf that is closely tied to her childhood memories from before her father died. For footwear, Christine generally wears about two-inch heels, often Victorian button-up boots of buckle-shoes. This changes however when she is dancing in the ballet, during which time she wears a pair of pink silk pointe shoes. Her hair is generally down, partially pulled back in the front just to keep it out of her face. Color-wise, when she has a choice, Christine is usually seen dressed in blues and occasionally pinks, the blue being a good color on her, as it brings out the natural color of her eyes.
General Appearance: Christine is a slender young woman of middle height with long, graceful limbs and a mild hourglass figure. She has light brown hair which hangs in cascading loose curls and goes down to just pas her waist, with a few curly fly-away pieces for bangs. Because of the length of her hair and the fact that the curl is not extremely tight, there are places hear the top of her head, especially in the back, where her hair almost appears to be straight because it is pulled that way from the weight of the curls lower down. She usually wears her hair down and partially pulled back, just to keep it out of her eyes. She has pale blue doe eyes that are full of innocence and naïvité. She has a fairly long face, indicative of her Swedish heritage and fair skin with rosy cheeks and lips.
Played By: Sierra Boggess
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Personality
Christine is also a very self conscious person, always aware and sensitive to what others think of her and how they perceive her. For this reason, she is very secretive about her “Angel of Music” other than what little she has told to a few close friends: Madame and Meg Giry, and Raoul de Chagny. This secrecy also has to do though with her devout loyalty and allegiance to her “Angel of Music” as well as the fact that she often ends up letting her fears rule over her, choosing to play things on the safe side rather than wanting to walk along a path of potential danger.
She is a very curious girl, and sometimes Christine's curiosity can get her into a great deal of trouble, as was the case when she ripped off her Angel's mask while she was staying with him underground in his home. Her curiosity has its benefits on occasion as well though, as when she was a child, her curiosity and questioning the things around her allowed her to develop a fondness of and knack for solving riddles – a skill which she put to good use in the games she used to play with Raoul when they were children.
Dreams and Goals: Christine's biggest goal and dream is to make her father in heaven proud with her music. Secondary goals include finding love and starting a family. Her main dream was to hear the Angel of Music like her father promised her that she would, which has been somewhat fulfilled in hearing and receiving lessons from Erik, who has posed as her Angel of Music for several years now.
Strengths:
[li]picks up music quickly
[/li][li]has experience as a dancer
[/li][li]is very patient
[/li][li]has a lovely light lyric soprano to soubrette voice
[/li][li]a great actress
[/li][li]is pretty
Weaknesses:
[/li][li]naïve
[/li][li]can be a bit submissive to the will of others
[/li][li]tends to be rather passive in her own desires
[/li][li]tends to get hung up in the past, especially with the memory of her father
[/li][li]indecisive
[/li][li]Has been a bit sheltered from the outside world, having lived in the Opera since her father died
[/li][li]has a very primitive education
[/li][li]is a little unladylike at times
Fears:
[/li][li]losing everyone close to her
[/li][li]snakes
[/li][li]spiders
[/li][li]mice and rats
[/li][li]losing her ability to sing
[/li][li]losing her hearing
[/li][li]being taken away from the people she loves
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The Past
Gustave Charles Daaé: father (deceased)
Kristina Ljusa Daaé: mother (deceased)
Madame Giry: adoptive mother-figure
Meg Giry: best friend
Raoul de Chagny: old friend and childhood sweetheart
History: Christine Svenna Daaé was born May 20th, 1861 in Växjo, Sweden to parents Gustave Charles Daaé and Kristina Ljusa Daaé. The mother, Kristina, died in childbirth, and so little Christine was raised solely by her father who was a rather well-renowned traveling violinist. From a young age, the girl began traveling along with her father through several countries in Western Europe, including Sweden, Denmark, Germany and France.
Being raised solely by her father, Christine became very close to him and the music which was their livelihood became extremely dear to her as well. Often, she would sing along as he played the violin. She had a naturally good voice and sense of pitch, and received much praise for it from those who heard her and her father when they would perform together.
It was when Christine was thirteen years old that Christine and her father were walking along the beach in Perros-Guirec, singing and playing together. A little boy was also on the beach there. There was a strong wind and it blew Christine's red scarf into the sea. The girl reached out to grab it, but it was already blows and resting a bit off in the waves. Before she knew what was going on, the boy that had been following them ran into the sea to fetch her scarf. He came back, soaked through to the bone and she took the scarf from him, laughing happily. It was that day that she met the young Vicomte Raoul de Chagny.
From that moment on, Christine and Raoul became great friends. It so happened that she and her father were staying in Perros for a bit and that the de Chagny estate was located there. She and Raoul would often play games together, reading each other old Nordic legends, having picnics in the attic with cakes and chocolates, listening to her father play the violin, and listening to the stories which he used to tell them about the Little Lotte and the Angel of Music. Raoul used to call Christine Little Lotte like the character from their games and from the stories. Yes, there was a game that they used to play with each other called “Little Lotte.” It was an old parlor game – a guessing game where Little Lotte would think of three things and the other person had to try to guess which one of these three things Little Lotte was most fond of. Christine excelled at the game, but Raoul always seemed to have difficulties discovering Little Lotte's secret.
It was two years later, when the girl was fifteen years old, that she and Raoul were parted when he left Perros-Guirec to head to Paris in order to pursue a career in the Marine Nationale. From that moment, Christine's life seemed to take a turn for the worse. Her father grew very ill and died about a year and a half later. On his death bed, Christine's father told her that when he was in Heaven, he would send to her the Angel of Music to guard her and to watch over her. The poor girl was devastated after her father's death and clung to music as her only source of comfort.
Having no living relatives, she was sent to Paris to live with Madame Giry – an old friend of Gustave Daaé who worked as the ballet mistress at the world renowned Opéra Populaire. Madame Giry was a widow and had a daughter named Meg who was only a couple years younger than Christine and who was a dancer training to be in the corps de ballet at the Paris Opera. Christine began to train with Meg there in the ballet at the Opera.
One night, soon after arriving, Christine heard a voice as she was just going to bed. The voice was singing to her and calling her name softly and she asked it if it were the Angel of Music which her father promised to send to her after he died. The voice began to give her lessons in secrecy and so Christine progressed in voice alongside her dancing, though she was very quiet about it and a bit shy to have others hear her singing outside of the Angel, Madame Giry, and her dear friend Meg.
Christine and Meg both completed their training for the ballet around the same time and were finally admitted into the corps de ballet at the Opéra Populaire. Christine, however, was often late to rehearsals, caught up in her fantasies and voice lessons with this so-called “Angel of Music” who was both her voice coach and her dear friend, though she had never seen him – only heard his voice.
It was when Christine was twenty years old that things began to change. The company was rehearsing for a new production of the opera Hannibal by the composer Chalumeau. The rehearsal was going as normal. Christine was a bit late, but that wasn't out of the ordinary. She had been speaking to her Angel of Music again. For some reason, he had been quite adamant on her learning the role of Elyssa in the opera, although she was only a member of the chorus and the ballet. As usual, the house's prima donna asoluta – Signora Carlotta Giudicelli – was singing the lead role of Elyssa.
The ballet had just finished their routine when Signore Piangi came in with his lines about how Rome was threatening to take over the kingdom, although instead of “Rome,” the tenor sang the word “Roma” and so the rehearsal was brought to a temporary halt as the director, Monsieur Reyer, worked on the proper pronunciation with the Signore. It was at this point that the manager, Monsieur Lefèvre, came in to officially announce his retirement and to introduce the two new owners of the Opéra Populaire: Monsieur Richard Firmin and Monsieur Gilles André.
Signora Giudicelli was asked by Monsieur André to give a private rendition of the aria Think of Me from Act III of the opera and she was just starting the second verse when suddenly a set piece fell a bit further upstage. Joseph Buquet – chief of the flies – was asked what happened and the man claimed that he was not at his post and that if someone tampered with the backdrop in order to cause it to fall, it must have been a ghost. Meg immediately panicked, saying that it was the “Phantom of the Opera” – the supposed resident ghost of the opera house who seemed to get pleasure in tormenting the management and performers there. Meg rushed to Christine and the pair began chatting hurriedly, wondering what had happened in order to cause the “ghost” to become so malicious toward the rehearsal.
La Carlotta was livid that this had happened and walked out of the rehearsal then and there. It was at that moment that madame Giry came forward with a message from this “Opera Ghost” commanding that box five continue to be left for his use and that his salary was due. The new managers thought that the whole thing was ridiculous and were far more concerned in the immediate issue of who would sing the role of Elyssa in Carlotta's stead. Immediately, Meg popped up and volunteered Christine for the task. Christine turned bright red, wishing that her friend hadn't opened her mouth, and the managers immediately disregarded her as nothing but a little chorus girl. Madame Giry, however, insisted that Christine had been taking lessons from a great teacher. When Monsieur André asked her who this teacher was, she embarrassedly admitted that she did not know her name. All she knew him as was the “Angel of Music,” but she wasn't about to tell anyone that, or they would surely take her for a madwoman. The managers agreed to hear her in the role and so timidly, the girl began to sing. She was nothing but a trembling whisper at first, and wanted desperately to just leave the stage, but Madame Giry would have no such thing. Slowly but surely, the girl began to gain confidence as she sang and flung herself into the role which she had been previously studying with her celestial tutor. The managers decided at that point that she would be the perfect one to take over and sing the role in the place of the missing diva.
The performance went smashingly and Christine was received with much enthusiasm from the audience. After the performance, Madame Giry congratulated Christine and, after Christine had gone off to her dressing room, her friend Meg met her there to offer her own congratulations and to ask about who this great tutor of hers was. Christine, who had been listening to the praises from her Angel of Music before her friend had arrived, spoke to Meg about the Angel that her father had often told stories about and that she had always dreamed of appearing to her. Now, as she sang, she felt as if she were truly in the presence of this Angel of Music who had begun coaching her ever since she had arrived at the opera house. Their conversation was cut short however when Madame Giry, who had been looking for her daughter to come join rehearsals with the other dancers, came into the dressing room in order to retrieve her daughter and to deliver a note to Christine.
When Christine opened the note and read it over, she was a little confused at first. It wasn't really a note at all – just a list, a list of things which all seemed extremely familiar to her, ad yet she could not quite place where she had heard of them before. A red scarf, Little Lotte... Christine tried not to think to much of it and continues changing out of costume, beginning to unpin her hair while sitting at the vanity. It was a few minutes later that there was the sound of the door opening and closing and then a man's voice asking her a very peculiar question: “Christine Daaé, where is your red scarf?” Christine was, quite naturally, confused at first, but soon came to recognize the man as her childhood friend, Raoul de Chagny, from before her father died, when they lived in Perros. They reminisced over their childhood memories and then Christine tried to explain to him about how, now that her father was dead, she had been visited by the Angel of Music. Raoul, of course, thought that she was merely speaking metaphorically and immediately dismissed the statement, inviting her to supper, a gesture to which she declined, stating that the Angel of Music was very strict and that he would never approve of her being out so late. Raoul just laughed and told her to change while he got his hat.
It was no sooner than he left that Christine heard the voice of her Angel of Music, insulting the young man for daring to “bask in her glory.” Christine begged the Angel to forgive both herself and her friend, saying that her soul was weak, and inviting him to come into the room. It was then that the Angel said he had finally decided to reveal himself to her and told her to look at her face in the large mirror on the wall in her dressing room. She did so and was amazed to see in the mirror, alongside her own refection, the face of a masked man with a hat and cloak, clothed in dress clothes and chanting mysteriously. She outstretched her arms to him, singing to him in a sort of ecstatic state, and a hand seemed to reach through the mirror toward her. She took the hand and was immediately brought through into a serious of dark passageways which lied behind.
The masked, cloaked figure led her down pathway after pathway, deep into the cellars of the opera house and then brought her onto a boat on a vast misty lake. As the boat traversed across the aquatic portion of the cellars, candles seemed to raise up out of the very water itself and a thick mist shrouded them in the darkness until they touched shore on the far side. After touching shore, the man led her from the boat and told her to sing for him, a request which she could not refuse and she sang with a rapture unlike any other which she had ever felt before, so much to the point where she was nearly breathless afterward.
The man began playing the organ and singing to her, professing to her about how he needed her for “his music” so he said, upon which statement, he approached her and began to sing in a soft lulling voice which entranced the girl into an almost hypnotic-like state as he showed her around that underground fantasy land where every detail seemed almost surreal. One thing which he showed her, however, caught her quite off-guard, even in this hypnotic state – a life-sized mannequin which looked exactly like Christine and which was dressed in an elaborate wedding down and standing withing a shattered mirror stand. In fact, she was so taken back by the site of the oversized-doll, that she fainted away right then and there.
When Christine awoke the next morning to the sound of a music box in the shape of a monkey dressed in Persian robes, playing the cymbals and sitting atop a barrel organ, she attempted to recall exactly what had happened the night before. She remembered the mist on the lake, the candles... and the strange masked man who had brought her there. Looking around, she say the mist, and then the candles... and then the man, sitting at an organ and writing away, busy working on something.
She got up and slowly approached him, the curiosity of youth welling within her, desiring to know what face could possibly lie behind this mask. She sneaked up beside him and, when she wasn't paying attention to her, pulled away at the mask and let out a cry of terror at the site which appeared, immediately running away, the hideously deformed man, who seemed absolutely furious with her for removing his mask, pursuing her. She ran about the place, trying to get away fro, him as he chased her, screaming hideous threats and curses at her, calling her “lying Delilah”and “Viper,” “Prying Pandora,” “demon,” and “Vixen,” telling her that she could never be free. In her attempts to flee, the girl tripped and fell, the man dragging himself along the floor toward her, daring her to look at him now that she new what hideous monster of a face lie behind that otherwise innocent-looking mask. And then, she started talking about how fear could possibly turn to love, and assuring her that he was not really the monster he appeared to be. Hesitating slightly, Christine returned to him the mask and he stood, replacing it back over the deformed side of his face, and then practically dragged her out, saying that she needed to return to the surface or people would begin to miss her.
After returning to the upper levels of the opera, Christine went to madame Giry, not quite sure how to explain where she had been, luckily enough, the woman did not question her and instead told her to rest so that she would be ready for the evening's performance of Il Muto in which she was to play the pageboy, Serafimo. Christine did as she was told and went to take a quick nap.
Later that evening, she dressed in her page's costume and prepared for the performance, unaware of the message that had been received from the Opera Ghost about how she was to play the role of the Countess instead. It didn't really matter though at the moment, because the new managers had chosen to ignore the ghosts commands and to cast La Carlotta (who had returned only that morning) in the leading role.
The performance began normally. Christine was dressed in Serafimo's maid disguise and pretending to clean about the set as the “Count” and “Countess” bid farewell to each other and the Count said aside to the audience that he planned to stay and watch what was going on, as he expected that the Countess was being unfaithful to him. Soon enough, the moment the Count left, “Serafimo” went to the countess and she ripped away his disguise and the two kissed. It was in the middle of the laughing song “Poor Fool” when there came a haunting voice from all around. Meg of course immediately shrieked “Phantom!” and ran off. Christine recognized the voice as her Angel and as the mysterious man whom she had met the evening before and was in utter bewilderment, to which Signora Giudicelli rudely reminded her that the role of the pageboy was silent and called her “little toad.” Carlotta began the scene again, attempting to go on with the show, but when she got to the phrase “you cannot speak, but kiss me in my husband's absence,” a strange thing happened. Rather than singing, Carlotta let out a strange noise which, rather ironically, sounded exactly like that of a toad! Carlotta was, of course, horrified, and went offstage, sobbing. It was then announced by Monsieur Firmin that the performance would continue in only a few minutes time when the role of the countess would be sung by Miss Christine Daaé.
Christine rushed offstage and was dressing hurriedly in a costume for her to be the countess, when there was a strike of panic throughout the house as Joseph Buquet, the scene shifter, was hung in the midst of the ballet. Christine had just learned of this when she came across her old friend again, Raoul de Chagny, who had come backstage in order to speak to her. Terrified and suspecting that this man who had taken her the evening before was behind the whole thing, she dragged Raoul up to the rooftop with her and tried to explain to him that she was frightened about all that was happening. Raoul told her that she was simply dreaming. Christine was quite hurt that her old friend refused to believe her and looked around the rooftop in a sort of desperate state, trying to think of what she should do, when Raoul, seeing her fear, came and took her up in his arms.
They stayed like this for a long time, him trying to comfort her, both of them speaking about feelings which neither quite understood, feelings of how they wished that they could be together, thinking of happy things such as the summertime when they would play together and making promises to each other – promises which neither were quite sure if the other would agree to, but which they both longed for: a shoulder to cry upon, someone who would always be truthful and faithful to them, to “guard and to guide” and to follow anywhere the other led... to be loved. Love me. That's all I ask of you. Really, it was all either of them dared to ask of the other. All that they really wanted from each other. And then the pair kissed.
Feeling much reassured and overwhelmed with joyous emotions by the time they had spent there on the rooftop, Christine told Raoul to wait for her, and to be ready to leave to go to that dinner he had asked about before when she was done with the evening's performance. He happily obliged and the two returned to the theatre. Christine went onstage and sang the role of the Countess in order to make yet another fresh triumph.
After the opera had finished, Christine went onstage to take her bows and a very curious thing happened. There was a hideous cackle from the same voice as before and the chandelier began to rock and sway and then, all-of-the-sudden, came hurling toward her. She stood there, dumb with terror, as her fellow performers fled from the ghastly object which threatened to hit them. She surely would have been hit by the massive falling object if it had not been for Monsieur le Vicomte de Chagny, practically leaping out onto the stage and pulling her out of the way, after which, the girl fainted away from shock and terror. It was at this moment that Christine Svenna Daaé was dragged from her own reality and sucked into that of the manor by the troublesome ghosts who inhabited there.
RP Sample
The warm and welcome sound of a thunderous applause greeted Christine's ears as she waited in the wings. The sound, combined with her previous rapture on the rooftop only a couple short hours before, made her feel a giddy, bubbly sensation welling from within her, somewhere deep down in the pit of her stomach. She had triumphed. Once more, she had been placed rather last minute in the center of attention for all of Paris to see, and once again, she had triumphed rather marvelously. Oh, she wished her father could have been there to experience this with her. He would have been so very proud of how far his daughter had progressed in her art.
The rest of the cast had already taken their due bows when finally it was her turn to step from the wings and onto the stage once more in order to receive the praise of the adoring subscribers to the opera. She made her way downstage and took her bow, dressed in the glittering lavender gown and powdered wig of the Countess in Il Muto. Her heart leaped as she beamed under the spotlight and praise of a couple thousand Parisians.
Her triumph was cut short however, when a hideous cackle echoes from all corners of the amphitheater, seemingly mocking her through the thunderous praise she had been receiving. Before she knew what was happening, the poor young woman raised her eyes upon a most unfortunate and terrifying site – the grand chandelier was slipping, slipping, toward her. She was in shock, complete and utter shock! Mere seconds before that massive beaded lighting fixture could strike her there upon the stage, she felt a pair of arms grasp around her body and pull her out of harm's way just in the nick of time. It was none other than Raoul, who was shielding her body with his own, protecting her from the shards which flew about.
Christine was completely and utterly stunned! Ad in the stun and the shock of the moment, she fainted away, right there on the opera stage, in the arms of the vicomte de Chagny with whom she had been with previously that evening on the balcony, he promising to protect her from all harm. It would seem that this protection was needed much sooner and much more urgently than poor Christine had ever come to suspect.
The rest of the cast had already taken their due bows when finally it was her turn to step from the wings and onto the stage once more in order to receive the praise of the adoring subscribers to the opera. She made her way downstage and took her bow, dressed in the glittering lavender gown and powdered wig of the Countess in Il Muto. Her heart leaped as she beamed under the spotlight and praise of a couple thousand Parisians.
Her triumph was cut short however, when a hideous cackle echoes from all corners of the amphitheater, seemingly mocking her through the thunderous praise she had been receiving. Before she knew what was happening, the poor young woman raised her eyes upon a most unfortunate and terrifying site – the grand chandelier was slipping, slipping, toward her. She was in shock, complete and utter shock! Mere seconds before that massive beaded lighting fixture could strike her there upon the stage, she felt a pair of arms grasp around her body and pull her out of harm's way just in the nick of time. It was none other than Raoul, who was shielding her body with his own, protecting her from the shards which flew about.
Christine was completely and utterly stunned! Ad in the stun and the shock of the moment, she fainted away, right there on the opera stage, in the arms of the vicomte de Chagny with whom she had been with previously that evening on the balcony, he promising to protect her from all harm. It would seem that this protection was needed much sooner and much more urgently than poor Christine had ever come to suspect.
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