Rachael Flatt's New SP

[seniorita]

No, no, not that generic blah SP. The 1998 exhibition version, as performed at the World Pro/Am that year.

I havent watched the 1998 exhibition but this sp was maybe one of the best of her, you were kidding right?If only for the spins!!! And blades is right, the orange dress is in my list of the top skating dresses.

I think the whole fuss why Rachel skates this music is because this music is rather emotional and when it picks at the end you get michelle kwan goosebumps, its not like if she would skate to Tosca people would have the same comparisson.

By the way,i havent watched the mini series but the titles music was haunting me long before kwan, I little remember my parents renting the tapes once we got a vcr in the late 80s and I was not allowed to watch with them for some reason.:sheesh:

 

[ibauer]

I'm just curious why she changed the program in the first place. Was there a feeling (Rachael, Zakrajsek, both? other?) that her SP placements at NHK and SA were too low, hence the change? Whatever the case, I'm curious to see what she will do with East of Eden. I don't remember Kwan's versions very well, so I won't be making any comparisons.

 

[oleada]

I don't think Michelle Kwan owns the music (no skater owns any piece), but her performance was so memorable and she is such an icon, that why would you choose to be compared to such standard? Especially when the things that Michelle excelled are Rachael's weakness.

Both of her programs this year were terrible, but the LP is worse, so I'm not sure why she chose to change the SP. I think Team Rachael went about this season all wrong. Instead of working on things that are obvious weakness that have been pointed out, such as speed, stretch, posture and spins, they spent their time working on a 3Lz+3Lo combo that has yet to materialize.

Her best move, IMO, would be to dump Tom Z as a coach. He doesn't get it, IMO.

 

[Olympia]

...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.

Pogue, I know that several posters here have praised the 2001 version, but when I went back to watch both "variations" (the 1995 through 1999 and then the retooled 2001), I noticed that one drawback of the 2001 choreography was that, because of short program demands, Kwan did a section of rapid footwork near the end. While the steps were very good, they were somewhat incompatible with the music, which is better served by sweeping movements that flow and build. I recommend the version she did as her exhibition program after winning her first Worlds in 1996. I can't find a decent-quality video of this, but just pretend you're watching on non-cable TV. Even with all the fuzz, it's gorgeous. The part in the second "chorus" section where she almost saunters, with hands clasped behind her back, and later on the part with her sustained spreadeagle after the falling leaf, are marvelous. It's a beautifully constructed program, and her musicality and emotional openness put her stamp on this piece for me.

http://www.youtube.com/watch?v=oywJebgYE_4&feature=related

I'll be happy to see what Rachael does, but she'll have to go far to match the bewitching effect of Michelle's program--even the one with the footwork that didn't match the music.

 

[ImaginaryPogue]

Thanks Olympia. Following Mathman's post, I checked out the 1998 Pro.Am one and with your post, I do think the music itself is a bit better as long program music than short program music. I liked the footwork section of hte SP, though.

But I guess I like this as a challenge for Flatt. To use a similar situation, Davis/White have been criticized for choosing a Tango, because they don't have the chemistry to pull it off or the emotive capabilities. That may be true, but they won't get that by avoiding the challenge (conversely, Crone/Poirier have been criticized for using another theme that emphasizes their lack of chemistry/relationship as opposed to working on it). Flatt may not have the emotional grace to skate a good program to this music. But I'd love to see her try. And as for the inevitable it-wasn't-as-good-as'es that'll come her way, well, they were coming anyway, given the level of enmity she's gotten.

 

[lavender]

The 1998 pro am is one of the best...

http://www.youtube.com/watch?v=yS3FntkFAyU&feature=related

 

[Mathman]

HOW VERY DARE YOU!

2001 Worlds was Michelle's best version of the SP.

I haven't watched the 1998 exhibition but this sp was maybe one of the best of her, you were kidding right?

Yes of course Michelle's 2001 East of Eden SP was great. East of Eden was great for Michelle at all of the 20 major events that she skated it at from 1995 to 2001 (23, counting the times that she used it both as the short program and the exhibition at the same event). Michelle could do slow, sweet/sad/poignant lyrical ballad like nobody's business.

But 2000-2001 was the year that she tried to break out a little. Her first short program that season was Rush, choreographed by Christopher Dean.

http://www.youtube.com/watch?v=3xZ9T7WSQuk

This was a departure and a new direction. This was also the season that she tried Miraculous Mandarin, choreographed by Peter Oppegard. But she only tried it once (Grand Prix Finals). As I recall the judges and the fans were cool about Rush and Miraculous Mandarin, so she quickly shelved them both and went back to safer material. (Nothing wrong with Song of the Black Swan though).

In the Olympic year she also played it safe, SP-wise. For some reason she thought Scheherezade would take all her preparatory effort, so she went with East of Eden one more time. Then at the last minute she changed it to her other old standby, Rachmaninov, her iconic 1998 show-stopper. Maybe a little bit of a let-down, after that string of pearls Romanza, Dream of Desdemona, Rachmaninov, Day in the Life,

 

[demarinis5]

Rush was an excellent SP program for Michelle, it was something different and fresh and I always suspected she was pressured by Frank to change it.
I don't think she went along with the decision to shelve Rush amicably. I think that is when the problems started for Michelle and Frank which eventually led to
her firing Frank a few months before the 2002 Olympics. JMO

 

[Olympia]

But I guess I like this as a challenge for Flatt. To use a similar situation, Davis/White have been criticized for choosing a Tango, because they don't have the chemistry to pull it off or the emotive capabilities. That may be true, but they won't get that by avoiding the challenge (conversely, Crone/Poirier have been criticized for using another theme that emphasizes their lack of chemistry/relationship as opposed to working on it). Flatt may not have the emotional grace to skate a good program to this music. But I'd love to see her try. And as for the inevitable it-wasn't-as-good-as'es that'll come her way, well, they were coming anyway, given the level of enmity she's gotten.

It's certainly true that it's a worthy effort to take on a challenge. Sometimes, as Robert Browning said (to paraphrase), our reach should exceed our grasp. In fact, one of the most beautiful programs of the recent Olympics was done to music that I would have sworn was untouchable: the adagietto from Mahler's Fifth Symphony. After Katia Gordeyeva skated it as an elegy to her dead husband, I couldn't imagine it ever being used by anyone else, let alone for mere competition. And yet, Virtue and Moir skated it triumphantly. I don't know whether the music really worked for anything as serene as their program, but the program certainly worked! (An additional parallel with Rachel's choreographer's re-use of some signature music: both Mahler programs were choreographed by Maria Zoueva.)

So it's worthwhile for Rachael to attempt this music, though I and many other fans are made antsy by the effort--not because we don't like Rachael, but because, well, it's Michelle. Since the advent of YouTube, we can try to be more philosophical about these matters, because we can see the old routines whenever the spirit moves us.

 

[seniorita]

Yes of course Michelle's 2001 East of Eden SP was great. East of Eden was great for Michelle at all of the 20 major events that she skated it at from 1995 to 2001 (23, counting the times that she used it both as the short program and the exhibition at the same event).

I had seen only worlds 2001 <live>, I watched now the 1996 ex (thanx Olympia) and the 1998 ex which is indeed special (in pro/am they gave marks for exhibitions?) now there are 20 left to go
I didnt know EoE music is supposed to be sad, i thought it was romantic. I just love this music. I havent read the book though, or the the movie/series.

 

[Mathman]

(in pro/am they gave marks for exhibitions?)

In the 1998 pro-am there were two programs, the "technical program" and the "artistic program." There was a certain amount of controversy about this event. It was the first time that active competitive skaters were allowed to participate at the "World Pro." If I remember correctly, Kristi Yamaguchi and Brian Boitano -- stalwarts of the World Pros -- refused to participate under the new conditions.

Anyway, Michelle crushed everyone in the "technical" round, delivering a seven triple performance of Ariane. Then she did East of Eden (four triples) as her "artistic program." I think there might have been a rule that no more than four triples were allowed.

On the men's side, everyone thought that Yagudin would be a shoe-in. But pro Kurt Browning won the artistic segment with a huge score and came within a whisker of upsetting him. The only reason Kurt lost was because he missed hi triple Axel in the technical program and finished fourth and last in that segment.

 

[Mathman]

I didnt know EoE music is supposed to be sad, i thought it was romantic.

I guess something like maudlin (overly sentimental) would be better than sad.

Going by the lyrics, I think the idea is that Michelle is longing for home but then realizes that she is at home already wherever she is.

Kind of like Dorothy in the Wizard of Oz. The Scarecrow, the Tin Woodman and the Cowardly Lion came to realize that they had what they sought (a brain, a heart and courage) within them all the time and did not need a humbug wizard to give it to them.

So Dorothy, who wanted the wizard to take her home, at the superficial level had the means to go home all the while (the silver shoes -- ruby shoes in the movie to take advantage of that new invention, technicolor). But on a deeper level, she didn't need the wizard OR the silver shoes because she was already at home. By virtue of her strength of character she was at home wherever she was, whether Oz or Kansas. (roll the credits: SomeWHERE over the rainbow...♫)

 

[Mathman]

Rush was an excellent SP program for Michelle, it was something different and fresh and I always suspected she was pressured by Frank to change it.

I don't think she went along with the decision to shelve Rush amicably. I think that is when the problems started for Michelle and Frank which eventually led to her firing Frank a few months before the 2002 Olympics. JMO

Please excuse the triple post, but this is such an great thread!

I hope, too, that it was something like that. The other persistent rumor, that Frank Carroll wanted too much of the money that was sure to roll in after the Olympics, would be too sad and I hope it is not true.

Although...there may also be something to the suggestion that Michelle just totally lost her freakin' mind.

Anyway, the only reason that Michelle ever gave for making the changes was that she "wanted to take control of her own skating." I am sure that artistic conflicts between a maturing performer and her childhood mentor are common and natural.

 

[Serious Business]

Maybe Flatt is less worried about the historical Kwan and more worried about her current competition? Rachael's Summertime SP's final 2/3rd is all peppy and jazzy, just like Kanako Murakami's entire SP. However, Flatt doesn't have the speed or energy or verve to pull that off as well as Miss Sugar Overload Murakami.

They competed head to head 3 times this season. So Flatt and her team has had ample time to see first hand just how much she suffers in comparison to Kanako in the pep department. So maybe they said screw it, we can't take the heat so let's get out of the uptempo kitchen and hang out in the adagio meat locker instead.

 

[Blades of Passion]

I think "Rush" is Kwan's weakest SP between 1996-2005. The music is rather shapeless and just doesn't allow the elements to pop.

However, I wish she had tried "The Miraculous Mandolin" again. Not for that season of course but in the whole scope of things it would have been great to see it in 2005 instead of Bolero. Would have worked great for CoP without changing the structure too much.

 

[seniorita]

I guess something like maudlin (overly sentimental) would be better than sad.
...
Going by the lyrics, I think the idea is that Michelle is longing for home but then realizes that she is at home already wherever she is.


By virtue of her strength of character she was at home wherever she was, whether Oz or Kansas. (roll the credits: SomeWHERE over the rainbow...♫)

all this you came up with one Michelle Kwan exhibition? She is inspiring for sure, you must change profession career and go to story telling.
Has EoE Tv series have similar theme like Wizard of Oz?

 

[Joesitz (RIP)]

However, I wish she had tried "The Miraculous Mandolin" again. Not for that season of course but in the whole scope of things it would have been great to see it in 2005 instead of Bolero. Would have worked great for CoP without changing the structure too much.

hmmm yummy. The Miraculous Mandoline showed Michelle at her finest bravura style, and not the usual lyric style. How many skaters would dare skate to Bartok? I think Peter was trying to show that Michelle is not just a one style skater. I think, however, that the joints were beginning to ache and it had to be dropped.

Just another what if. It would be interesting to see if she got the surgery done in 2002, how much time would she have lost? I think she would be competing today.

 

[Spun Silver]

This thread should be retitled Michelle Kwan and Rachael Flatt: East of Eden. Otherwise its long length in the absence of any view of the program itself is inexplicable. Not sure even Rachael's best program ever will generate a 6-page thread...

 

[Olympia]

Here is a tape of her skate to the Bartok (The Miraculous Mandarin, not Mandolin, by the way):

http://www.youtube.com/watch?v=wWarys9kuzM

I can't imagine many other ladies trying music like this, and I give credit to Michelle for taking it on. Some of the footwork is really innovative, and the movements all work exceedingly well with the rather hectic music. But if she had done this instead of Song of the Black Swan at Worlds, it would have been our loss. I like Blades of Passion's idea of its maybe taking the place of the 2005 Bolero program. I've never found Bolero to be a really interesting piece. (Exception: when Torvill and Dean skated to it!) There's a lot of other Ravel music that's way more compelling. In terms of music expressing passion, I'll take the Liebestod from Wagner's opera Tristan and Isolde or the balcony scene from Prokofiev's ballet Romeo and Juliet over Bolero every time. At least the Bartok would have given Kwan originality and intricacy for her program.

 

[Layfan]

Maybe Flatt is less worried about the historical Kwan and more worried about her current competition? Rachael's Summertime SP's final 2/3rd is all peppy and jazzy, just like Kanako Murakami's entire SP. However, Flatt doesn't have the speed or energy or verve to pull that off as well as Miss Sugar Overload Murakami.

They competed head to head 3 times this season. So Flatt and her team has had ample time to see first hand just how much she suffers in comparison to Kanako in the pep department. So maybe they said screw it, we can't take the heat so let's get out of the uptempo kitchen and hang out in the adagio meat locker instead.

Miss Sugar Overload Murakami. Heh.

Anyway, I agree. I think it's a sort of knee jerk reaction that because Rachael isn't a ballerina-type skater that "cute" and "peppy" should be the way to go for her. But I don't agree - precisely because her movements are not the fastest or the sharpest. And I think Rachael is rather good at being expressive so she certainly gives it her all in these jazzy numbers but I don't know if it's really "her." I think something a little slower and more soulful - but not balletic - would suit her better. She's needs something mature and intriguing.