- Joined
- Nov 12, 2012
Men:
SP - I have two favourites, but a lot of honourable mentions, because even when choreo as a whole was knd of okey, some parts were just spectacular:
Boyang Jin 'Spiderman' - this is my absolute favourite in terms of expression/entertainment value/engaged factor. It highlighted Jin's best qualities he has: powerful jumps and soul of a real performer.The way he plays with the music by his movement, giving off that fun/cheeky vibe is stunning. This is the kind of choreography which is made for make people smile, entertain them, engage into skater's effort regarding not only skating, but also a performance built. I think that as season progressed, Jin added more and more of himself to that choreo, being base and a departure/development point for him, including those already iconic,legendary 'Boyang shimmies'. I feel like he showed a great spirit and personal input to elevate this choreo.
Patrick Chan 'Dear Prudence'/'Blackbird' by The Beatles - this one grabbed my heart and moved me by aesthetic of it, a harmonious clash between modernity and nostalgy in Patrick's interpretation. As Patrick is my lyrical master, a virtuose on blades, it was kind of 'bold' and unusual music choice for him in my opinion and I was curious how it will be played from choreographical point of view. And the effect is quite stunning, very original for me, fresh and unexpected - the movement, all transition and general expression of choreo/program are matching relaxed, reflective feel of the music. There is nothing extra loud, extra bright in that program, yet it sparks like a jewel brightened by Patrick masterful skill, glide, timing and sophisticated style. There is no race in that choreo, no 'rivarly' between jumps, spins, steps, music or movement in-between - it's pure harmony, easyness, communion of all elements which shine also on their own at the same time. And for me, this is a program/choreo about magnitude of impression hidden in simplicity, which is one of toughest things to achieve in my opinion, because skater has to balance technique with presentation/expression having kind of 'low-key' tools to play, nothing loud or vivid. But with Patrick, his skating in general, way he moves can turn anything into striking picture turning heads in attention. I am personally glad he did that kind of program, because not only it was original and unexpected from him, but the effect, magnetic pull of it surpassed my exprectations.
honourable mentions: Yuzuru's SP (for rockstar vibe and lively interaction parts with audience), Jason's SP (for elegance and fluidity of choreo), Deniss V. SP (for choreo attitude and musicality which brought the best from Deniss himself, and those bada** spins from Hot Master Lambiel:love), Misha Ge's SP (for power in simplicity), Alexei Bychenko's and Mikhail Kolyada's SP (for quirk and originality transferred into something unique), Shoma's SP (for embodying longing and melancholic feel of the music by his movement)
FS - again, two clear favourites and lots of honourable mentions:
Patrick Chan 'Journey' by Eric Radford - music itself is beautiful, but with Patrick's skating it becomes a piece of art in motion. Patrick's skills, interpretation range and way of movement in that choreo made that music special and likewise - the music, its modern feel, lyrical character, softness and harmony highlighted Patrick's maestry. What striked me the most in terms of program concept/choreography alone was again that relative 'simplicity' comparing it to some other skaters - there was Patrick's pure skill on display, his body working like a fine instrument which carried the music, feel of it; there was delicacy, feathery quality in way step sequences were construced and woven into that program yet as a whole it resonated with power and strenght of Patrick's interpretation, maturity. There's just something unique and pure, blissful to witness how Patrick's body interacts with music, molding its gestures, moves, reactions, expressions into rhythm. The program was for me again about great discovery of Patrick's skating, its multi-dimentional perspective and timeless quality displayed, unfolding with no rush like a delicate ribbon or music score.
Shoma Uno 'Buenos Aires Hora Cero' by Astor Piazzola - this is for me the program which went the longest road to become as perfect and vivid as it is now. The edge, drama, tension of the music were perfectly accentuated with movement, elements and mostly - Shoma's presence, attitude and movement. There was something hypnotizing in the way his feet pointed rhythm in opening sequence, it set a tone of the performance, keeping that daring feel, edge over it until the very end. I want to phrase also a great balance and expressiveness of the whole program - the first part is kind of 'introduction' to the dramatic Lady confession/manifesto sang over this 'Loco' character, it builds up the tension which is especially visible in the way step sequence there is constructed and executed: it creates a pull, power and space by movement, the level of varying between rhythms, tempos, accentuation of intruments is INSANE for me, and to keep body movement and expression still in Tango character during all that is just beyond imagination, chills every time watching. Some complain over that Lady part of this program, but for me it brings out the drama out, 'rawness' of it on the surface by those screams and builds up to the great, big finale by Shoma's skating. And this transition moment with violin screetch pointed by 3A/3A combo is just pure perfection for me. And I love that there's something 'wild' and unkept about Shoma's expression, skating in that second part with Lady voice in it, that dynamics in transitioning between elements, whole ending sequence with cantilever and brilliant last combo spin, all of it just keeps you in the edge of the seat.
honourable mentions: Yuzuru FS (for reflectiveness and complexity), Misha Ge FS (for again magic feel of classic and simplicity), Jason's FS (for translating unspoken message of the music into movement in such brilliant way), Boyang's FS (for playfulness, cheekiness and joy expressed), Nicolas Nadeau's FS (for resurecting Elvis spirit in such great way)
ETA - forgot to add Adam Rippon - for me both of his programs/choreos perfectly reflected the character of the music, and like with Gabby Daleman's case - I so much appreciate his whole 'entourage' around programs, styling, attitude. I just love his guts to show a competitive program like SP, in such convention of a party in the club. And love his sensibility/approach towards 'Birds' FS program - his movement really reflected on birds' flying, fragility and freedom.
SP - I have two favourites, but a lot of honourable mentions, because even when choreo as a whole was knd of okey, some parts were just spectacular:
Boyang Jin 'Spiderman' - this is my absolute favourite in terms of expression/entertainment value/engaged factor. It highlighted Jin's best qualities he has: powerful jumps and soul of a real performer.The way he plays with the music by his movement, giving off that fun/cheeky vibe is stunning. This is the kind of choreography which is made for make people smile, entertain them, engage into skater's effort regarding not only skating, but also a performance built. I think that as season progressed, Jin added more and more of himself to that choreo, being base and a departure/development point for him, including those already iconic,legendary 'Boyang shimmies'. I feel like he showed a great spirit and personal input to elevate this choreo.
Patrick Chan 'Dear Prudence'/'Blackbird' by The Beatles - this one grabbed my heart and moved me by aesthetic of it, a harmonious clash between modernity and nostalgy in Patrick's interpretation. As Patrick is my lyrical master, a virtuose on blades, it was kind of 'bold' and unusual music choice for him in my opinion and I was curious how it will be played from choreographical point of view. And the effect is quite stunning, very original for me, fresh and unexpected - the movement, all transition and general expression of choreo/program are matching relaxed, reflective feel of the music. There is nothing extra loud, extra bright in that program, yet it sparks like a jewel brightened by Patrick masterful skill, glide, timing and sophisticated style. There is no race in that choreo, no 'rivarly' between jumps, spins, steps, music or movement in-between - it's pure harmony, easyness, communion of all elements which shine also on their own at the same time. And for me, this is a program/choreo about magnitude of impression hidden in simplicity, which is one of toughest things to achieve in my opinion, because skater has to balance technique with presentation/expression having kind of 'low-key' tools to play, nothing loud or vivid. But with Patrick, his skating in general, way he moves can turn anything into striking picture turning heads in attention. I am personally glad he did that kind of program, because not only it was original and unexpected from him, but the effect, magnetic pull of it surpassed my exprectations.
honourable mentions: Yuzuru's SP (for rockstar vibe and lively interaction parts with audience), Jason's SP (for elegance and fluidity of choreo), Deniss V. SP (for choreo attitude and musicality which brought the best from Deniss himself, and those bada** spins from Hot Master Lambiel:love), Misha Ge's SP (for power in simplicity), Alexei Bychenko's and Mikhail Kolyada's SP (for quirk and originality transferred into something unique), Shoma's SP (for embodying longing and melancholic feel of the music by his movement)
FS - again, two clear favourites and lots of honourable mentions:
Patrick Chan 'Journey' by Eric Radford - music itself is beautiful, but with Patrick's skating it becomes a piece of art in motion. Patrick's skills, interpretation range and way of movement in that choreo made that music special and likewise - the music, its modern feel, lyrical character, softness and harmony highlighted Patrick's maestry. What striked me the most in terms of program concept/choreography alone was again that relative 'simplicity' comparing it to some other skaters - there was Patrick's pure skill on display, his body working like a fine instrument which carried the music, feel of it; there was delicacy, feathery quality in way step sequences were construced and woven into that program yet as a whole it resonated with power and strenght of Patrick's interpretation, maturity. There's just something unique and pure, blissful to witness how Patrick's body interacts with music, molding its gestures, moves, reactions, expressions into rhythm. The program was for me again about great discovery of Patrick's skating, its multi-dimentional perspective and timeless quality displayed, unfolding with no rush like a delicate ribbon or music score.
Shoma Uno 'Buenos Aires Hora Cero' by Astor Piazzola - this is for me the program which went the longest road to become as perfect and vivid as it is now. The edge, drama, tension of the music were perfectly accentuated with movement, elements and mostly - Shoma's presence, attitude and movement. There was something hypnotizing in the way his feet pointed rhythm in opening sequence, it set a tone of the performance, keeping that daring feel, edge over it until the very end. I want to phrase also a great balance and expressiveness of the whole program - the first part is kind of 'introduction' to the dramatic Lady confession/manifesto sang over this 'Loco' character, it builds up the tension which is especially visible in the way step sequence there is constructed and executed: it creates a pull, power and space by movement, the level of varying between rhythms, tempos, accentuation of intruments is INSANE for me, and to keep body movement and expression still in Tango character during all that is just beyond imagination, chills every time watching. Some complain over that Lady part of this program, but for me it brings out the drama out, 'rawness' of it on the surface by those screams and builds up to the great, big finale by Shoma's skating. And this transition moment with violin screetch pointed by 3A/3A combo is just pure perfection for me. And I love that there's something 'wild' and unkept about Shoma's expression, skating in that second part with Lady voice in it, that dynamics in transitioning between elements, whole ending sequence with cantilever and brilliant last combo spin, all of it just keeps you in the edge of the seat.
honourable mentions: Yuzuru FS (for reflectiveness and complexity), Misha Ge FS (for again magic feel of classic and simplicity), Jason's FS (for translating unspoken message of the music into movement in such brilliant way), Boyang's FS (for playfulness, cheekiness and joy expressed), Nicolas Nadeau's FS (for resurecting Elvis spirit in such great way)
ETA - forgot to add Adam Rippon - for me both of his programs/choreos perfectly reflected the character of the music, and like with Gabby Daleman's case - I so much appreciate his whole 'entourage' around programs, styling, attitude. I just love his guts to show a competitive program like SP, in such convention of a party in the club. And love his sensibility/approach towards 'Birds' FS program - his movement really reflected on birds' flying, fragility and freedom.
Last edited:
, it's actually 'her', but thanks a lot for all the phrase 
, and Ladies is work in progress right now
)
but I think good old Jeff is not involved with Javi (both his programs are of David Wilson, if I remember correctly...). Among Jeff's works this season are Ashley's SP and Marin Honda's FP.
