Rachael Flatt's New SP

[seniorita]

"The gentle winds, the rain that falls,
the tallest trees, I'm part of it all. (of it all, of it A-A-A-L-L !!! **cymbal crash**)

maybe it will get lyrics deduction :think:

 

[jenaj]

Pogue, to my knowledge there are two in Michelle's arsenal. One she did in about 1995 (and I can't recall whether it was an SP or an exhibition). The second was (please correct me if I'm wrong) her SP for her "rebelling" year of 2002, when she broke away from Nichol. It was certainly around there, and I can't at this point recall whether it was Nichol's choreography or whether Michelle revamped it herself.

There are at least three programs where Michelle used EOE. As a very young skater--maybe around '94--she did a program that started with EOE but had other music cuts. Then, in '96, she did her Worlds Exhibition to EOE with no other music cut in. She did the same program at the '98 World Pros (her best performance of it, IMO) and at other events (the Japan Open, I think; also I think she did it as an exhibition at '99 Nationals). Her third EOE program was the short program she did at '01 Nationals and Worlds. This was a brilliant SP, but lost a little bit of the lyricism of her exhibition because of time contraints and the required elements. For example, she wasn't able to include her COE spread eagle out of a split falling leaf, or her magnificent edging in the earlier part of the program.

 

[Mathman]

I would presume if you are a balletomane, you would only see Swan Lake once if it was danced well.

I think the difference is that in Swan Lake the music sweeps all before it, providing a vehicle of sufficient substance for many different dancers to take a stab at bringing something original to the interpretation.

In the case of East of Eden, the music standing alone is kind of simpy and vacuous (pretty, though, especially the clarinet). The performance is all Michelle. So the danger is that if anyone else tries it, the audience we be like, hey, that's not what's supposed to go there!

 

[BravesSkateFan]

I'm glad to see her finally using a different kind of music, although I wouldn't have picked this particular piece. It will be interesting to see how well it works for her.

 

[Nadine]

I read about this late last night and was pleased, that is until I read a few comments on the 'net, then I finally decided not to read the negativity, just enjoy the moment, and alas my smile came back.

For the record, I'm one that doesn't think any music is sacred, nothing at all. Music was meant to be enjoyed, not hidden away from the public, especially great music. And EOE is that and more. It is up to the skater to do it justice, and my hope is that Rachael can do this beautiful piece of music justice. ^)

p.s. I've always wished someone would skate to the "Litany of the Saints", as sung at Pope John Paul II's funeral http://www.youtube.com/watch?v=SZ0Cw5LmkDI

 

[aftertherain]

I will not be actively looking for it. To me, EoE is Michelle's music, regardless of all your agreeable logic of good music being meant to be enjoyed by everyone.

Good luck to Rachael, but I won't be watching her SP. Yes, I know that sounds really mean, but if Mao Asada or Yuna Kim chose to skate to that as well, I wouldn't be watching those either. And that's saying quite a bit.

 

[aftertherain]

How many programs to East of Eden are there?

Pogue, to my knowledge there are two in Michelle's arsenal. One she did in about 1995 (and I can't recall whether it was an SP or an exhibition). The second was (please correct me if I'm wrong) her SP for her "rebelling" year of 2002, when she broke away from Nichol. It was certainly around there, and I can't at this point recall whether it was Nichol's choreography or whether Michelle revamped it herself.

I'm pretty sure there were more than two. She did a bunch of Exhibitions to EoE which all looked the same, but there were very minor changes, but I would say that there were three.

1. 1993-4 Long Program
2. Various exhibitions (including the legendary 1998 Pro-Am one)
3. 2001-2 Short Program

 

[Pikachuusb]

hmmm I'm trying to be positive & I hope I'm surprised. I know though that I will be comparing it to Michelle's and not liking it as much. I can't help it, I associate certain music to certain skaters whenever I hear it. My boyfriend laughs, because we will be out and hear a piece of music and he will look at me and I'll say who skated to it, if it was the long or short program & what year they skated to it. Sadly I couldn't tell you what I ate for breakfast. Lol I have priorities in what I remember.

 

[Olympia]

Of course I'll hope for the best for Rachael, but I too have special feelings about Michelle's interpretation(s) of this music. Though when one thinks of the other signature pieces, I'd rather see someone use this than, say, Lyra Angelica or Dvorak's Dumky Trio (the main part of Black Swan). I tend to agree with Mathman that what made EoE special is what Michelle did with it, not some unusually superior quality in the music.

This reminds me of a pro competition in which Yuka Sato skated to Debussy's Afternoon of a Faun with Janet Lynn in attendance. (Lynn might even have been a guest judge, if memory serves.) Apparently Sato was worried that Lynn might take offense and sent an apology to her beforehand. But Lynn was happy to enjoy the performance, and of course Yuka's musicality and technical excellence did justice to the piece. This was an example of music that really did benefit from another interpretation; it's a landmark modern classical work, certainly equal to Swan Lake in terms of enduring reputation. Considering that its first interpreter was no less than Nijinsky, there is certainly room at the feast for someone like Sato, whom many fans consider to be one of the finest skaters of her era, as Lynn was of hers. (Afterthought: And how could I forget--John Curry also did an astonishing interpretation of the music.)

For most of us, though, East of Eden has just one association, and that's Michelle. For me, there's an extra emotional link between Michelle and the music. I think she skated it on some TV program within a week or so of Sergei Grinkov's sudden death in 1995. I remember the cathartic effect the piece had on me, skated with delicacy by this young girl who represented the future of skating at a time when skating fans were dealing with so much loss. To me, the song became a reminder that there was still hopefulness in life. I don't know whether Rachael can live up to such a powerful memory for me.

 

[reynycpr]

Apparently Sato was worried that Lynn might take offense and sent an apology to her beforehand. But Lynn was happy to enjoy the performance, and of course Yuka's musicality and technical excellence did justice to the piece.

For all we know Rachel might have done the same.

I for one feel that Michelle's EOE will stand on its own, no matter who skates to it after her. I wouldn't mind at all seeing someone else's interpretation to it. Interestingly enough Rachel's version would be the one that I would be more curious to watch. I feel if other skaters decided to skate to it today, it may be a bit predictable... I think Rachel could bring an interesting look to it, but of course it won't stop anyone who has seen Kwan's version from comparing and contrasting, including myself :think:

 

[ImaginaryPogue]

Yeah, I have to admit that the whole surfeit of feeling here leaves me a bit non-plussed. Especially aftertherain's "I won't watch Flatt's SP" comment. Then again, I just watched the program (2001 Nationals) for the first time and didn't see why it's so strongly associated with Kwan (as opposed the "Lyra Angelique") - though to be fair, my attitude was really "prove it." In the Land of The Thousand Carmens, it seems a little churlish to complain. The music is plaintive and gorgeous, though.

 

[herro]

As much as I love Kwan's interpretations of EOE, my reactions weren't as strong as some of the posters' here. Yes, for me, EOE will be associated with Kwan, but I say give the girl a chance. I'm looking forward to the program's unveiling and want to see how she will rise up to the challenge. I'm sure Flatt herself has thought a great deal about the music and the pressures associated with it.

 

[Blades of Passion]

I'm sure Flatt herself has thought a great deal about the music and the pressures associated with it.

Actually I wouldn't be surprised if she hasn't.

The majority of figure skaters don't actually follow figure skating closely, especially competitions from before their time. Some even nearly loathe having to watch skating, after being around it so much.

 

[blue dog]

I think it's fine if Lori is reusing music she has used for other people. We tend to forget that even if there are millions of musical pieces out there, most of those pieces are not skateable.

My beef with Lori, or any choreographer for that matter, that is reusing music they had once used for another skater, is using the same cut. For example, I don't know if it was Lori who choreographed Kristiene Gong's version of Salome, but Frank is her coach, and the cut is identical to the one Michelle used in 1996.

 

[brightphoton]

I think it's fine if Lori is reusing music she has used for other people. We tend to forget that even if there are millions of musical pieces out there, most of those pieces are not skateable.

What makes a piece of music skateable? Sometimes I listen to any ol' song on the classical music radio station and I think someone could triple lutz to it easily.

My beef with Lori, or any choreographer for that matter, that is reusing music they had once used for another skater, is using the same cut. For example, I don't know if it was Lori who choreographed Kristiene Gong's version of Salome, but Frank is her coach, and the cut is identical to the one Michelle used in 1996.

Also, East of Eden is a long movie, at least an hour long. I'm sure Rachael doesn't have to use the exact same cuts. Plus, maybe Lori felt like she could be lazy with Kristiene because she's not as well known as Rachael ...?

 

[iluvtodd]

If anyone wants to know the lyrics of this tune, here they are.

"I have seen a summer day,
that slowly opens like a rose,
along a quiet road that wanders by
and I have smiled and wondered where it goes.

"I have stumbled through the night,
alone as any one can be,
then found a silent canyon full of stars
and in my heart I heard them telling me
I was home.

"The gentle winds, the rain that falls,
the tallest trees, I'm part of it all.

"I've seen the silver mountaintops,
and golden prairies on my way.
Now everywhere I go across the land
I stand so proudly in the sun and say,
I am home.

"The gentle winds, the rain that falls,
the tallest trees, I'm part of it all. (of it all, of it A-A-A-L-L !!! **cymbal crash**)

http://cache2.asset-cache.net/xc/50...1DCC4BB9D689BC00D28D4F04D7464B01E70F2B3269972

"I've dreamed of Eden all my life.
I find it more and more each day.
Now everywhere I go across the land
I stand so proudly in the sun and say,
I am home."

I read about this late last night and was pleased, that is until I read a few comments on the 'net, then I finally decided not to read the negativity, just enjoy the moment, and alas my smile came back.

For the record, I'm one that doesn't think any music is sacred, nothing at all. Music was meant to be enjoyed, not hidden away from the public, especially great music. And EOE is that and more. It is up to the skater to do it justice, and my hope is that Rachael can do this beautiful piece of music justice. ^)

Of course I'll hope for the best for Rachael, but I too have special feelings about Michelle's interpretation(s) of this music. Though when one thinks of the other signature pieces, I'd rather see someone use this than, say, Lyra Angelica or Dvorak's Dumky Trio (the main part of Black Swan). I tend to agree with Mathman that what made EoE special is what Michelle did with it, not some unusually superior quality in the music.

This reminds me of a pro competition in which Yuka Sato skated to Debussy's Afternoon of a Faun with Janet Lynn in attendance. (Lynn might even have been a guest judge, if memory serves.) Apparently Sato was worried that Lynn might take offense and sent an apology to her beforehand. But Lynn was happy to enjoy the performance, and of course Yuka's musicality and technical excellence did justice to the piece. This was an example of music that really did benefit from another interpretation; it's a landmark modern classical work, certainly equal to Swan Lake in terms of enduring reputation. Considering that its first interpreter was no less than Nijinsky, there is certainly room at the feast for someone like Sato, whom many fans consider to be one of the finest skaters of her era, as Lynn was of hers. (Afterthought: And how could I forget--John Curry also did an astonishing interpretation of the music.)

For most of us, though, East of Eden has just one association, and that's Michelle. For me, there's an extra emotional link between Michelle and the music. I think she skated it on some TV program within a week or so of Sergei Grinkov's sudden death in 1995. I remember the cathartic effect the piece had on me, skated with delicacy by this young girl who represented the future of skating at a time when skating fans were dealing with so much loss. To me, the song became a reminder that there was still hopefulness in life. I don't know whether Rachael can live up to such a powerful memory for me.

Thanks for the lyrics, MM!

I'm not getting into the debate about Rachel using this music or not. I think it will be a big challenge (especially with the strong and memorable associations with Michelle's performance), but I wish her all the best and hope she will compete well at Nationals.

 

[demarinis5]

I am thrilled that Rachael is skating to EOE, beautiful piece of music. Will she be compared to Michelle of course that goes without saying. Any comparison between the two skaters is really a moot point for me. Will I swoon when Rachael skates to EOE at Nationals probably not, being an ex-uber of the Kween I have my swooning under control (therapy has helped lol) but I will be rooting for Rachael just because.......

 

[Poodlepal]

I don't think this is the right choice for Rachael. Her main weakness is a lack of gracefulness (which she probably can't change, due to her body type.) Doing a piece made famous by the most graceful of them all--not a good idea. Comparisons will be inevitable.

Rachael is at her best when she skates to light, fast, happy music, like last year's short and her exhibition piece.

She should find some lyric-less versions of pop songs that she really loves, (mid-tempo or above) wear a bright dress, smile, do that thing with her hands that she does, and play to the audience. While the tech specialist will still catch her if she flutzes or UR's, (and should, of course), awkward positions and a lack of smoothness will be covered up more by the overally happiness and peppiness of the music, and her presentation will seem better, at least.

 

[Olympia]

Demarinis5, I think you've hit the balance I'll be striving for as I watch Rachael. Of course I would never resent a skater for using music that another skater used. My peeve is more at Lori, whom I adore for her wonderful programs--so I always want freshness from her. I wouldn't hold anything against Rachael, a lovely and impressive girl who works hard at skating and education. I wish her the best and will cheer happily for her.

But...as an uber-fan of Michelle's (and not in control of any swooning!), I find that it's hard to shake loose from the special bond Michelle gave us to certain pieces of music, and I can't pretend otherwise.

Another poster made a point that it might be hard to find a lot of skatable pieces of music, which might explain why Lori and other choreographers repeat themselves. I can't agree with this. We have seen so many pieces that seem to come out of the blue and that turn out to be perfect for skating; it just takes thorough searching. Through the years, Lori has been just about the champion of searchers, and that's why it is especially unsettling when she recycles herself. She has looked in all sorts of inspired directions, including chamber music, modern classical pieces by obscure composers, less-than-prominent movie sound tracks. One of her best efforts was, of all things, Love Story--but the perfect cut to carry a narrative, and arranged with unusual instruments. It gave Sale and Pelletier an immortal moment in skating history.

One great benefit from this discussion is that it made me go back to Michelle's three versions of EoE. I've still got gooseflesh from watching her become the music. Then, related to our discussion of Afternoon of a Faun, I went back and watched Yuka Sato's radiant interpretation of the music. Her bladework and positions are spectacular. I recommend all of these performances to you.

And I recommend Rachael's! She is the "today" of skating. I hope the music lifts her skating to another level, and that she captures some aspect of its magic. Maybe she'll even get the chance to take it to Worlds.

 

[demarinis5]

^ :thumbsup: