Part of the reason for the new structure of Yuna's short programs this season and last has to do with the step sequence rules. She does long step sequence like most skaters to maximize her levels, particularly because she cannot do a level 4 layback with a Biellmann anymore. More time for choreography means less time for elements. Would cutting out those things you mentioned still keep it at level 4?
She had explicitly set out to compete in Zagreb in order to test her elements' levels. They were fine in the SP, but in the LP she got a level 3 step sequence and a level 1 spin. The steps and spins in the LP will be adjusted to fix that, but I don't know about the short. I've noticed over the years, she and David do not tend to make radical changes to her programs over a season. Most changes are pretty subtle--like her LP to Les Mis last year.
I think I can finally put my finger on the change that is needed in the middle of Yuna's LP. Let me use Les Miserables as an example...
The most important moment in Les Miserables was when Yuna landed her 2A+2T+2Lo and then turned around and fired her arms up in the air, conducting the music. From that point on, it no longer felt like I was watching a world championship figure skating performance ... everything from that moment on felt like I was watching an epic work of art that transcended the sport and time itself.
The key to the success of this moment was the music seemed to build on itself. There was a mini-climax with the horns or trumpets or whatever when Yuna finished her step sequence around the 1:30 mark. The music fell off over the next few seconds and the program kind of did a reset.
Next, Yuna was skating very slow at this delicate moment, seemingly vulnerable and introspective, which draws the audience in close to her. Before you know it, as she skates down the ice for her 3Lz, a soft melody has started to develop. Another mini-climax occurs for this part as Yuna lands her jump.
Immediately after, the music resets again and starts to build another segment where the melody is even more powerful. It constantly builds as Yuna glides down the ice, spread eagle and arms extended, and finally reaches crescendo after Yuna lands her 2A+2T+2Lo and fires her arms into the air. This is the magical moment in the performance that brings everything together from a pacing point of view. Everything builds to this moment in the program, and everything after naturally derives from this moment of the program, building towards the final climactic choreo sequence.
In Adiós Nonino, the analogous moment occurs at Yuna's layback ina bauer into 2A+2T+2Lo. Everything in the program should build to this moment, and everything after should feel natural to follow it. This is the part of the program that brings everything together from a pacing and emotional point of view, ultimately leading to the final climactic choreo sequence.
The problem I was having with this program was that the buildup to this moment seemed a little "off". I kept focusing on the music, but I can't decide if the music fails to build properly or not. That's when suddenly it occurred to me -- there is an emotional problem (or lack thereof) in the middle of the program, around the step sequence. The signature moment around Yuna's layback ina bauer is a triumphant moment, and it should be preceded by negative feelings of mourning or despair. The problem was the lack of emotional buildup in the program, not the music!
What I think would fix everything would be slight changes to the choreo of the latter part of the step sequence. Yuna should be skating more introverted, drawing the audience into her private remembrances, in a similar way to how she drew in the audience during the middle of Les Miserables. At Zagreb performance, her step sequence was either kind of aimless, or extroverted, I can't decide...but it wasn't properly building the emotion through the program.
Instead, imagine the last part of the step sequence, she skates more introverted, we feel more of a lament, and then it emotionally leads into that triumphant moment I keep talking about.
In Les Mis, it was the building momentum of the music that carried the program .... but I think in Adiós Nonino, it must be the building momentum of the emotion that carries the program.
Btw, it all makes sense to me now, when I said on Saturday it seemed like that signature moment in Adiós Nonino came out of nowhere. It did come out of nowhere, emotionally. If everything goes your way, and then something triumphant happens, you feel like "wow, how lucky I am, yet another good thing just happened to me!" And if you are just meandering around all over the place, and then something triumphant happens, you think "wow, that good fortune came out of nowhere!" That's exactly the feeling I get with Zagreb performance of Adiós Nonino ... the performance had no emotional direction, and all of a sudden this triumphant moment comes out of nowhere, and it's not as powerful as it should be.
But if you have bad feelings -- mourning, despair, regret, sad remembrances, etc. -- and all of a sudden something triumphant happens, then you feel "wow, how uplifting!" The moment will be much more magical.
That is exactly what Adiós Nonino needs right now. Which when you think about it, it's not that much. With just that fix, the program will be very, very special, and then I only hope for a more energetic choreo sequence at the end to make it perfection.
The thing I noticed first about both programs, in all honestly, was that her outfits and makeup are stunning She is the best dressed lady on the ice today, no question. Even that yellow (risky colour) looks great on her and the vivid red lips were just the cherry on top!
That said, I found the LP a little underwhelming. For Adidos Nonino, it's quite low key. Not a bad thing all-together, but it does make her seem a bit slower than she actually is, and the overall impact is less engaging and exciting than a more dramatic music selection.
Btw, it's ironic that lots of people on GS criticize Yuna for not showing enough emotion during her programs, that they are usually talking about her lack of facial expressions. Actually, this is the laziest way to convey emotion. The person who just smiles or frowns or looks surprised or excited, this is embarrassing and amateur. The proper way to convey emotion on the ice (and Adiós Nonino demonstrates this well) is by the way you skate and use your body. Yuna always does this correctly, but in Adiós Nonino, when the program could use more introspection at slower parts of the music, the choreography had her extending her arms or emoting outward towards the audience. I think the entire program would feel different if she uses the more somber parts of the music to skate within herself, and draw the audience into her private moments of regret. Then when the music rises on more positive notes, she gives fire, tango, and ultimately a sense of triumph and accomplishment.
ETA. you see, Melon is Yuna fan and he/she is comparing them too
What on earth does the Magnificent Mao have to do with Yuna's LP? Aren't there rules against trolling in threads? She's a fine skater but has nothing to do with this, nobody brought her up except you in order to derail the conversation.