Or-- I would need to play around with the music on editor and see if I could make a cut that would fit under 4:10. Too lazy for that since I'm not getting paid
I'm sure Yuna and David are aware, they are professionals and made creative choices. I just don't happen to agree this time. I think to really bring out the performance in Adiós Nonino you need a deep and moving interpretation. What a performance it could have been, coming from a 23 year old woman who has matured beyond her years since that teenage girl we got to know in the last quad.
My sadness about the program is because it feels the approach is cavalier, like we are getting something we've already seen from Yuna years before, just different music playing in the background. Lackluster is a good word.
BUT, I reserve the right to change my mind depending on the final product. It's not over until it's over, and we'll know next month at Sochi. I will keep my fingers crossed until then.
No matter what, we got Send in the Clowns this year, which is at least one more program I can watch over and over again.
sorry i felt like her les mis program is overrated... yeah.. the music cut is more relatable.. but in terms of choreography it was underwhelming..in other words it was generic.. at least yuna is trying to get out of her comfort zone this time and taking a risk with the music they used for adios.. it's complex and hard to grasp.. but when you look at the choreography it takes a lot to appreciate it..
the only reason why some are considered les mis a better program was because she skated clean to it twice..
HalfTriple, here's another idea. I mentioned in the Euro's thread I thought Julia just attacks, attacks, attacks in her FS. It comes off monotonous to me. There's no interpretation at all. I get the feeling watching her that her approach is -- if she just grits her teeth and tries harder on the next element, the audience will be moved (like that counts for interpretation?). She is young so it's not surprising she would think that way.
In Adiós Nonino, Yuna kind of gave the same vibe, but in a more advanced way. I didn't realize before, but now the idea resonates with me. In the same way that Julia just attacks, attacks, attacks element after element, I feel that Yuna just floats from music note to music note. Oh, an element? There, it's done. Almost without will it's done and better than anyone else in the world. The elements just get in the way while she floats from one note to the next.
I'm not sure I like that though in Adiós Nonino. I think the music is too deep and requires more emotional focus. There's a depth that I long for when I watch the program, whereas in Gershwin, floating from one note to the next worked really well. I do think Yuna has been working harder on presentation since Nationals so she might still have some surprise for us.
Her programs are always out of this world for me.
If i were a skater, not in this life, i would love to have her programs. hahaha
but I wouldn't say Kim is doing meaningless attack after attack. She in fact trying to present the program in a different interpretive mode , which is not agreeable to some of us. that's a fair saying. It just happened to me right now. I guess Adios N. is pretty darn difficult as a competitive program if she faithfully interprets the way it should. well just my guess. The music cut itself doesn't have distinct climax like Gershwin. correct me if I am wrong.
Haha, allow me to disagree on that. Yeah Les M's choreo might be generic, but we don't have to expect some fancy from a program when it comes to music interpretation, I think. Simplicity is beauty. I too think there is some redundant arm movement lately in Kim's choreo, because I believe nuance is one of the best assets. By the way for me, Les. M. the most extraordinary piece I have ever seen. Perhaps it's music is so influential, but yeah, to me it's unspeakable grandeur that speaks louder than any choreographic intricacy.
Well I would argue the climax is there but isn't properly set up right. The program doesn't correctly build to the climax. It just comes out of nowhere, because of the music cut.
Also, I'm not saying Yuna did meaningless attack after attack in her previous Adios Nonino performances. She doesn't skate like Julia at all (thankfully). I'm saying the emotional depth is lacking because ... in the same way Julia just meaninglessly attacks from one element to the next, it seems like Yuna floats or glides from one segment of the music to the next (in this case, without purpose). It's funny to contrast, because all of the emphasis in Julia's approach is trying her hardest, whereas Yuna the elements just get in her way. Then she brushes them off like nothing, no effort, that's the superiority of her skating.
Some other Yuna fans have argued her program is abstract, supposed to be like free verse poetry, whatever you want to call it. I don't think so ... remember, it's disadvantageous for Yuna to just float around without purpose. It's a more ethereal effect than someone like Julia ... but it's not complete enough to touch the audience. She needs purpose, and even Gershwin had purpose -- she was flirting and playing with the audience for 2 and a half minutes, drawing us in, then finishing with a dramatic climax to take our breath away. She wasn't just riffing notes for 4 minutes as some people claimed.
Now, what will we get for the final version of Adios Nonino? I'm not sure. I do think her conditioning and injury caused her to focus only on technical issues earlier this season, so I think just now Yuna has started concentrating harder on presentation. She will be better in Sochi for sure. Whether that's enough to make the program completely come together and move someone like me to tears, I don't know, but we'll see!