Aurelie Amandine

Full Name: Aurelie Amandine
Alias: The Rose of Ordona – At least she is trying to get it to stick
Age: 26
Birthday: Winter
Race: Hylian
Occupation: Principal Ballerina of the Royal Hyrulean Opera House Ballet/Ice mage
Pronouns: She/Her
School of Magic: Nayru
Beast Form: Secretary Bird


It is very rare to not see a demure half smile on the woman’s face. At her best, she is kind and generous. Particularly liking to bring a smile to others or making them temporarily forget any pain they may feel (especially through her performances). Any grandness or primadonna behaviour is strictly for the stage in her mind. Quite the conversationalist, Aurelie enjoys discussing or debating political or philosophical matters. A childhood spent in Ordon village also means that she can discuss the down to earth and practical sides of life. It makes her easy to be liked or at least tolerated initially.


She does tend towards being reticent and slow to truly trust others. She’ll be friendly and pleasant, but slightly aloof until she knows someone well. Though once one gets to know her, they will see a very dependable companion. While it may be surprising, she has very little love for frivolity or supercilious pursuits or attitudes. Aurelie dislikes wasted time and considers grandstanding or pomp to be efforts that would have been better spent doing something of substance. She acknowledges that this does outline some hypocrisy on her part though.


It is also little surprise that there is an intensely perfectionist attitude to the woman. No doubt stemming from a lifetime of studying crafts so meticulous and exacting that need to look effortless. While this is mostly contained to just herself, Aurelie often does find herself internally critiquing others when they don’t meet her high standards. There is of course an aspect of pigheadedness that accompanies this. It’s her way or no way at all. 


While it may not appear outwardly, she is quite a pragmatist and very ambitious. If others underestimate her, so be it on their head. She knows there is only so long she can be the star of the stage before her youth fades, and she is no longer able to dance as she did. While she loves nothing more than dancing: she wants to enter a position of governance and leadership. Whether it be with the Opera House or the Hylian government and enact changes she thinks would be for the greater good of Hyrule. While she hopes to never compromise her morals or values; she is unsure about how unchecked her own ambition may be.


Though, those that have known the Ballerina for a longer time may note that there was a jejune optimism – perhaps a verve for life – from her younger years that seems to have dissipated from her. In its stead is an iciness and vague disinterest for anything outside of her artistry, magic, or increasing her influence in the world that is creeping its way into her outlook.



Born in Ordon Village to a mercantile family that was well known for expansive and picturesque rose, lavender and orchid fields and plum orchards that are used for exclusive perfumes or in the family’s highly priced brand of wines, Aurelie had an idyllic childhood. Her parents had aspirations of her taking over the family business. It was quite apparent that while she loved the idea of nature and the business: she neither had the savvy or the green thumb to keep it sustained. What was apparent was her love of dance and a penchant for magic that had only been hinted at existing within the Amandine lineage before. To foster this, they shipped her and her grandmother to live in Castle Town and train in the Royal Academy of Dance and Hyrulean University of Magic in hopes of her becoming a famed performer or sorcerer.

She took to the rigorous training of both body and mind that ballet and arcane study swimmingly. While it was tiresome work flitting between the University of Magic and the Opera House, she found it rewarding. Her teachers found her dependable and a quick study. Aurelie also worked well with her peers. Something which promised at a bright future when she would join the Opera House Ballet. Her potential as both a performer and a mage meant she was tapped on the shoulder to eventually join the arm of the ballet company that served quietly as mystical reinforcement for the Hylian army. Her own specialty was in the domain of Nayru, with a particular focus on ice spells.

Her dependability served her well as by her 17th birthday, she joined the Ballet corps as a full-time member where she was quickly given the key role of coryphée. By 19, she debuted in her first pas de deux at the royal gala in the clock tower pas de deux of Kafei and Anju, where she was officially promoted as a soloist. A few months later she would be promoted to first soloist and perform her first starring role as the Cucco Queen in Cucco Lake.

It was after this performance that she was introduced to Jesyn Chavalle. The son of a very established noble family that was a well-regarded patron of the Opera House. He was highly ranked in the army  – more so for his family name than any actual talent or bravery. A long courtship between the two continued until her promotion to Principal. Throughout this blossomed a close and particularly abiding friendship between herself and Jesyn’s closest friend, Emilie Lomagnon, the youngest daughter of one of the oldest noble families in Hyrule. As the two realized they had known each other from their study in the University of Magic.

It was shortly after the announcement of her being promoted to the height of her career that she and Jesyn were wedded in a highly ostentatious and lavish ceremony. Yet, there felt like there was something that always was missing from the relationship. Similarly, Aurelie began to notice a distance form between herself and Emilie following their wedding. They would all put up the pretext of being very happy and successful in their respective endeavors in spite of the clear void that was forming between all of them.

It continued until the battle of Eldin when Jesyn was called into battle. Both women were relieved to find he’d had survived the onslaught. While he referred to some act of bravery he had undertaken – Aurelie was skeptical events transpired as he said they did. It marked a rapid deterioration in the marriage. During this, Aurelie temporarily retired from the stage, and the couple retreated to Jesyn’s family villa in the remote foothills of Snowpeak. Emilie would visit and stay with them shortly thereafter.

Early one morning in the beginning weeks of the Fall, the two women would be found stumbling into the Snowpeak outpost, distraught and crying that Jesyn had passed away protecting them from some matter of monster. Emilie was almost catatonic by the time they were found. The estate was utterly destroyed. No sign of Jesyn or this monster were ever found. The two were never seen speaking to each other again and remained tight lipped about what happened. Aurelie would return to the Opera House for the beginning of the Spring season the following year.


She is what one would expect from a ballerina – waifish, delicate, graceful – regal. Aurelie stands slightly taller than the average dancer in the RHOHB at 5’4 (going up to just under 6’0 en pointe) with long, slender arms and legs. Her shoulders are proportionally broader than the rest of her body. Her thick dark chestnut brown hair falls past her mid back and is always elegantly styled and is often accented with floral ornamentation or luxuriant velvet ribbons. A face framing fringe obscure her eyebrows. Side strands fall just below her collarbones and are often tucked behind her ears. She is fond of dying it varying shades of rosy blondes, coppery gingers or caramel browns. Her eyes are a deep blueish-purple. Her skin is very fair with a cool and rosy undertone, which through various skin tinctures and poultices almost always has an ethereal sheen to it.

It is very apparent that she is very image conscious (maybe not exactly vain). As such she always appears polished and manicured. Hylia forbid there is even the slightest hint of a blemish, scar or hair out of place! Her style skews highly feminine and often borrows from a more idealized, fashionable version of provincial fashions one might see in Ordon. Being a dancer, Aurelie prefers gauzy, light and moveable fabrics to more rigid or restrictive material. Similarly eschewing anything other than the most refined, thin and inobtrusive jewelry. Often, she will be seen in pale pastels, deep violets, crimsons or navy colour palettes. One might easily confuse her wardrobe for being the same as the costumes she would wear on stage.

• In addition to her acting capabilities, she is often praised by art and culture critics for her blending of athleticism with the precision and cleanliness of her technique. She is a legato dancer, preferring adagio to allegro performances.
  

• Her favourite role to perform is the Sage Aurore in the Sleeping Sage. The technique involved and the musical score is most compelling to her. In fact, she much prefers dancing the classical ballets rather than most of the contemporary performances the Opera House stages.
  

• Aurelie likes the idea of learning Farore magic if only for the extra height it may give her when she jumps.

• She actually prefers chrysanthemums to roses or orchids. Don’t tell her parents that.
   
• She uses her magic to keep that glowing complexion. Don't tell anyone that.
  
  
• Aurelie prefers perfumes with rich, spicy and chyphre notes.