LOL... oh yeah that was me! *2 hands 2 fingers victory sign*
I happen to be a huge fan of Pauline Kael's film critiques, so I tend to adapt her passionate but blunt honest style. I am still happily stand by my ridiculous 'essay' (thank you very much for remembering. It is flattering really for. I clearly have touched a nerve somewhere).
I actually remembered the essay mainly for its incoherence and poor mechanics, but suit yourself. It wasn't your worst effort though; that would likely be the time you called Franz Liszt a composer who only wrote showoff music, described his Piano Concerto No.1 as being "classical" in style, and said it was very "German" of him (how does one get this many things wrong in such a small space?).
However as much as I admire Mao, I still stand by my critique for her programs this year. They were junior and shallow. Mao's Swans clearly does not speak the music of Tchaikovsky, they were clearly the 'off the boat' variety. Exported from the land of bubbles and rainbows all still slightly dazed and confused even a few months later. Half a dozen performances later, the interpretation still unable to distinguish which colour is suppose to be from which music section, since they are neither reflected in the interpretation or the presentation. That program is choreographically half empty and the only saving grace is the step sequences. Put Liberstraume on it, is it any difference? I don't even know why people pretend to select the music or put on the costume anymore if that is all it takes. If you don't care enough about what you are suppose to be interpreting, being faithful to deliver the meaning in the music, intention of the composers then why should the audience do too? I'd say exactly the same if it is Yuna who did this program with the same type of contrived and inaccurate adaptation/interpretation.
I admit they are indeed scathing remarks, but do understand, my critique is not because I am a Yuna fan nor I am an anti (I am not - lets not get juvenile about this shall we?). Tat and Mao are 2 of superpowers of ballet on ice. It should be a match made in heaven, it should be 120% of my expectations, instead, I got 48% lukewarm version, where 30% alone are for the step sequences. I'd expect the program to be alot better, one of the best ever, a signature program i'd like to rewatch again and again. This did not happen.
Where to start? "Only saving grace"? Sure, brush off 1/3 of the entire program as if it doesn't exist and attack the rest as empty if that suits you. Just don't think it'll convince everyone else. And really, Swan Lake same as Liebestraume? It's about as similar as Yu-na's Giselle and her Les Miserables. Speaking of Giselle, I have to say if that wasn't a complete slaughter of what the composer intended, what is?

Were you saying exactly the same during Giselle? Tarasova's intention during Swan Lake was clear: blatantly frontload the program, then do all the choreography once that's finished. This was true for Ladies in Lavender, and even for all of the programs Tarasova did for Yagudin, who is three times the performer Mao will ever be.
It's not that I disagree that the Swan Lake program isn't what Tchaikovsky intended, it's that you think any skating routine using a collection of short cuts from an extended piece of music could be anything but "artistically dishonest" that makes me laugh. Take Yu-na's Les Miserables, for example. It is a huge achievement and the standing ovation she got for it is proof. But do you really think her 4 minute mishmash of songs captures some fundamental essence of the musical? If I wanted this fundamental essence, I would've gone to see the musical. I have seen people claim that over the course of the program she portrays Fantine and Jean Valjean perfectly, and then in this thread someone else is saying that she didn't just
portray Eponine, she
was Eponine. So which character was she? 1, 2, all 3? All I saw was Yu-na's anguished face, her figure tilted in sorrow, and her arms reaching forward in supplication. It might be more convincing if I hadn't seen the exact same gestures in Giselle. I watched the program to watch Yu-na Kim skate with her trademark speed, jump with her trademark flawlessness, and do nice-looking spins, steps, and choreography in time to the music, not to watch her portray every character in Les Miserables, and I got exactly what I wanted. If you came to watch Mao Asada portray the prince, Odette, Odile, and von Rothbart while doing the elements of a free skating program then I can only express my deepest sympathies. During the music in the first minute of Mao's program, neither White nor Black Swan are even onstage

.
I also picked out Liza since the Juniors as the one likely to succeed before she was popular and entered seniors. I have placed Li Zijun above Osmond despite the massive Osmond hype and wide appreciation. I am likely continue to do to any other skaters or any programs regardless reputation or care about the general consensus or popular believe. Oh yeah I am also one of the few who really appreciate Mao's Grand Bell of Moscow even though everyone else including Mao fans appears to hate it.
How fascinating. I intensely dislike Liza and consider Adelina far superior. Li Zijun is wonderful, and she's Chinese (a plus for my ethnic pride)! Mao's Bells to me was probably her 2nd or 3rd-best LP, and Liebestraume after Japanese Nationals 2010 was my least favorite (you can talk about Masquerade but at least she had her pristine spirals there).