The two-year natural trumpet syllabus is designed to broaden the horizons of future orchestral trumpeters, who will be required to play 'historical' instruments as they progress with certain conductors. In the first year, the student is introduced to a natural instrument with no system (valves, slides, keys, holes, etc.) and acquires a degree of autonomy in the classical and pre-romantic orchestral repertoire on copies of a nineteenth-century French instrument quite similar to the present-day trumpet. In the second year, the aim is to deepen mastery of this type of instrument and to incorporate stylistic elements specific to the Baroque repertoire into his playing, by tackling pieces by composers of the period on copies of 18th-century German trumpets that are slightly further removed from our current standards.

The Conservatoire prepares its students to reach a very high level of practice. Dance classes are the central element in the training of dancers, but they also need to enrich their practice with other disciplines.

Physical preparation is part of this and will focus on two aspects: the quest for physical performance and injury prevention in order to preserve their physical integrity.

This is all the more important when working with growing bodies. Dancers' specialisation begins very early on. At a very young age, they are required to repeat specific movements over a large volume of classes.

If you want to dance for a long time and be in good physical and mental health, the Conservatoire offers physical preparation tailored to your technical, physical and physiological level. This discipline will work closely with the teachers and the health centre to ensure that it is as adapted as possible to the demands of dance.

We cover a range of topics, including warm-ups, recovery and the organisation of work throughout the year and during the holidays.

The aim is to support the students as early as possible so that they integrate routines into their work at a very early stage. The earlier this work is done, the easier it is to integrate effectively into professional practice because it will have been tested and understood.

Physical preparation is covered in dedicated lessons but can also be integrated into general training outside lessons at the request of teachers or students.

It must respect the overall workload and allow time for recovery.

We aim to develop qualities such as cardio-respiratory endurance, strength, power, flexibility and coordination.

Through exploration of the instrument's repertoire, historical perspective and in-depth technical work, this course aims to develop mastery of the instrument and a critical approach to interpretation. Particular attention is paid to listening to one's body, in order to prevent the aches and pains associated with playing the instrument. The face-to-face teaching approach allows for personalised learning, helping each student to reach his or her full potential.

Initiated in 1972 by Steve Paxton, Contact Improvisation is an experimental dance form that plays with the laws of physics, through gravity and expansion, balance and decentring, inertia and impulse, and the modification of the forces involved. Sometimes acrobatic, sometimes delicate and slow, borrowing from the martial arts as much as from meditation and somatic practices, Contact Improvisation has many uses.