Gah, all these replies only about the costume? Can't we focus more on the skating? Yuna always has exquisite taste, and the yellow dress looks more beautiful by the day. The black dress is magnificent, her hair is darker than I've seen it in awhile and she strikes a very bold appearance across the ice in her LP. The tights are quintessential Yuna and always match her dress and skin complexion, accentuating her mature, sexy appearance. White boots would not look right with her outfits and would draw the eye away from where she wants you to look.
Also, one last thought on this:
I feel like there should be a narrative woven into the presentation, a narrative of a woman (Yuna) going back and forth between feelings of happy memories and private regrets.
Originally Posted by Ven
Early in the program, when the music permits -- like the transitions out of the 3F as one instance -- there should be subtle somber feelings integrated into the presentation. I feel like when Yuna extends her arms it's too optimistic of a presentation, but when she skates close to herself, it would seem more intimate and vulnerable. These negative feelings probably won't be too much in the program, I don't think we will ever need to feel a black hole of despair, but by the last half of the step sequence her introspection should reach its heights.
Then, when the triumphant music plays at her layback ina bauer, it's like she has considered both her happy memories and her sad laments, and she feels like she is ending her career on a positive note, that she has accomplished so much in figure skating and already in her life. She can retire without any regrets, so much accomplishment.
Finally, the energy of the last choreo sequence should be much greater, so as Yuna ends her final performance, it feels like she left everything on the ice and didn't hold back.
^^This is the program I would love to see. Adiós Nonino would be a truly magical finale.
I don't think Adios Nonino is really "Olympic" music. Personally, I don't really like Spanish music for the LP unless it's Carmen. Yuna should have used Send in the Clowns for the LP, and Adios Nonino for the SP.
The layout of the program is good, and the jumps are nicely spread out.
My number one wish for Yuna is that she fix that layback...it drives me nuts!
LP - very simple
go back to Les Miserables FS
her Adios Nino FS is underwhelming and not very Olympics worthy program
Rejoicing in the land of Kwan
SP: It's pretty but, similar to last season, nothing about it really stands out to me. I like it better than her Vampire one last year and it will score well and serve it's purpose. To me Danse, Bond and Tango are her best SPs. Nothing since Bond has really stood out to me. I don't like the yellow dress; the color washes her out and the style is very ZZZzzzz. She usually has better costume choices than that...
FS: More of what I like to see from her. I like this FS, though I wouldn't put it in line with any of her greatest hits (Lark, Gershwin, Homage). I like that there are pauses in the choreography--moments. Those are the things that stand out and make the program special. I like the attitude and fire she can bring out in this program and I think it will serve her well. I don't think it'll have an epic feel like Gershwin had, or Homage could have had if she resurrected that one, but with a little more mileage I think this will be a worthy program to end her career with. I like the dress for this program. You can't go wrong with a backless sleeved black dress for a tango. She could spice it up a little if she wanted to but the look is effective as is. I would like to see her ditch those outdated OTBs though. The white boot look is back in (never should have gone out IMO) and it's not like the OTBs have ever done her any favors...
The dress is olive green according to the designer, not yellow.
Missing Tdizzle and SDiggity
I was just going to say this but I might be biased since I'm a huge Les Mis addict. Remember the Battle of the Carmens? Well, we could have the "Battle of the Barricades" so to speak and I'd think I died and went to Heaven! LOL
Originally Posted by sky_fly20
One other thing I notice could be adjusted would be the timing of the windmill she does with her arm after 2A+2T+2Lo. She turns and fires her arm into the air, and then she does a windmill with her arm when she turns around the final time and starts skating down to the other end of the ice. I think the arm windmill should be timed with the music, at Zagreb it seemed one second off. Makes me wonder if she was tired and forgot to do it, then did it late? Or if the choreography really was that way?
I agree. I try to look past that and I think the program is quite good, but given Yuna's ability to bring life to symphonic and broadway warhorse pieces I do think Adios Nonino is a bit beneath her.
Originally Posted by Sochi_2014
But isn't that an worthy challenge? Anti elitism?
Originally Posted by drivingmissdaisy
I dislike any snobbery with regard to music choice. It should never be about who is deemed 'worthy' or 'credible' to be associated, but looking at what the performer did and their unique take on them.
I actually love the gumption to choose a B Movie horror Kiss of the Vampire as her short last year. It is bold and risky and nice up yours to the 'establishment' against the 'worthy choices', she won regardless. It seems her team is so bored these days, they need to find something risky to handicap her just to see what happens, even with such understated costumes, almost opposite of last Olympics.
I think those "warhorse" pieces you mention all have overt music and cues. When people say "this is not Olympic music", what they really mean (without realizing) is Adiós Nonino is more subtle, that it lacks obvious emotional cues to tell them how to feel.
When people take in a performance, they expect some kind of emotional experience. A program is different than just watching someone skate. Any world class skater can go out and blow your mind away with their ability ... but can they deliver a performance that emotionally moves the audience? Well, in a lot of programs, the music does most of the work with powerful, overt cues -- it tells the audience how to feel.
In Adiós Nonino, on the other hand, this isn't the case, or at least not with the cut David has selected. People expect to be moved by "Olympic" music, but it's not so obvious and powerful here, like Les Miserables.
So what's the solution?
The audience still expects emotional cues, but the music itself isn't the only thing that can evoke emotion -- the audience can be moved by the interpretation too. We can still experience an emotional journey with light music and fewer cues, but that is up to Yuna. Can she do it? Can she give us the emotional cues we are seeking, just from her presentation? I really think she can, but I do feel like she needs to refine her interpretation of this music.
The Key Point
I keep coming back to the second half of her step sequence. At Zagreb performance, the music slows down, and she gives a smile, does a light turn with her hand on the ice, then emotes toward the audience, among other choreo. Her arms move freely about her. It feels like she's playing, doesn't it? This is one interpretation, but I don't think it's necessarily the best interpretation for this part of the song, because the next part, the music gets inspiring (there are SOME emotional cues in Adiós Nonino).
Imagine you are making an outline for a program. Which of these outlines do you think would provide the best experience for the audience?
Some fiery tango. Then lighthearted playing. Then some inspiring music.
Some fiery tango. But then sad, private thoughts of regret. But then all is overcome with uplifting feelings of triumph and success.
The music at Yuna's layback ina bauer is one of the rare spots in the music that gives an overt emotional cue. The music just FEELS like it should be an inspirational part of the performance. But if Yuna just plays around before this, how do you go from playing -- to inspirational -- and really feel the music? You can't, the inspirational music just seems to come out of nowhere... there isn't an emotional journey there. But if you go from sadness to uplifting -- THAT is an emotional journey the audience can subconsciously connect with.
I really think the audience needs to feel more of a sad moment at the last half of her step sequence, because that will accentuate the uplifting part of the program that follows.
Yuna surely has had private moments of doubt in her life and career...make us FEEL that. Arms close to her body for this part of the program, not so free. Give us a more introspective, sad moment. I think the turn she does with her hand on the ice can still work because of the music notes at that moment, but I really think the choreo and interpretation for the rest of this sad/slow part should be changed, as I mentioned.
Damn, the exact emotion that is missing just occurred to me -- anxiety. Watching Yuna's LP, it feels like she needs to make us worry for her, sadness with a lingering anxiety, and then when the uplifting moment happens, all is well.
Black (men's) skates for FS, pretty plz.
I get anxious enough right before jumps, thank you very much.
Originally Posted by Ven