Archive of newspaper articles

[Walt FSHunter]

1985
BANSKÁ BYSTRICA JUNIOR INTERNATIONAL

Figure Skating

(the article published in russian 'Sovetskiy Sport' on November 27, 1985)​

BANSKÁ BYSTRICA. In this Czechoslovak town, the traditional international junior figure skating tournament has concluded.

Soviet figure skaters achieved great success in the singles skating events. Muscovite R. Kudryavtsev, a student of coach I. Lyulyakova, claimed victory, while his fellow countryman P. Chernousov (coach M. Sokolova) took second place in the all-around competition.
In the pairs event, E. Leonova and G. Krasnitsky, representing the capital's CSKA school (coach V. Zakharov), confidently secured the top spot.
​

 

[Walt FSHunter]

1985
MOSCOW NEWS PRIZE

THE TWENTIETH, ANNIVERSARY ONE...

(the article published in russian 'Sovetskiy Sport' on November 29, 1985)​

Figure skaters from 17 countries, representing four continents—Europe, Asia, America, and Australia—will take to the start of the twentieth, anniversary international tournament for the prize of the Moscow News newspaper. These competitions will take place from December 4 to 8 at the Luzhniki Sports Palace.
Many premieres are expected at the tournament, as practically all team leaders intend to introduce spectators and judges to their new compositions. For instance, many recognized masters are scheduled to start in the men's competition—A. Fadeev, V. Kotin (USSR), C. Bowman (USA), J. Eggleton (Canada), F. Kirsten (GDR), M. Begovic (Yugoslavia), and others.
After a ten-year hiatus, US figure skaters will also step onto the Moscow ice: they are entered in all disciplines of the program.
As noted at a meeting between representatives of the international tournament's organizing committee and journalists held yesterday, for Soviet athletes, these December showcases are one of the main tests before the World and European Championships.
​

 

[Walt FSHunter]

1985
MOSCOW NEWS PRIZE

BEAUTY AND PEACE ARE INDIVISIBLE

(the article published in russian 'Sovetskiy Sport' on December 5, 1985)​

Yesterday in Luzhniki, the XX anniversary international figure skating tournament for the prizes of the "Moscow News" newspaper opened.

I can hardly remember anything like this: an early snowy morning, a blizzard, yet a long, impatient queue has already formed at the ticket offices of the Central Stadium named after V. I. Lenin. Tickets for the performances sell out instantly. The magic of names clearly plays a role: after all, such "stars" as A. Fadeev, N. Bestemianova and A. Bukin, M. Klimova and S. Ponomarenko, L. Selezneva and O. Makarov, and V. Kotin have gathered in Luzhniki. The premiere of an exciting season begins...
There is another remarkable feature of the current tournament—the appearance of the US national team on Moscow ice. On the eve of the opening of the competition, a meeting took place between team leaders, judges, and coaches. Here is what Charles Foster, a member of the US National Olympic Committee and head of the American delegation, said at this meeting:
— We have come to the Moscow tournament after a multi-year break. We were glad to see for ourselves that its prestige is very high, that the arena in Luzhniki is magnificent and accommodates more than 10 thousand spectators. We regret that for a long period American figure skaters did not compete in these contests; they lost a lot due to the lack of contact with representatives of your school of figure skating, one of the best in the world. We sincerely welcome the first positive steps in relations between our countries. Therefore, it is especially pleasing that the American figure skating team was one of the first to arrive in Moscow after the talks in Geneva. I am confident that the Moscow competitions will serve the cause of peace and improve mutual understanding.
Yes, beauty and peace are indivisible. The upcoming meetings next year between athletes of the USSR and the USA—the Goodwill Games—are symbolically named! Let us note that the participants of the current tournament in Luzhniki will meet within the framework of these competitions in Moscow in July 1986.
In Luzhniki, the US team is led by very experienced masters who claim participation in the World Championship: Caryn Kadavy, Christopher Bowman (singles), Karen Courtland and Joseph Mero (pair skating), Susan Wynne and Joseph Druar (ice dance). Experts single out, first and foremost, Caryn Kadavy—a student of the famous coach Carlo Fassi. As you know, Fassi trained four Olympic champions in singles skating in his time. Now his hopes are pinned on the blonde pretty Kadavy. Fassi himself, who also arrived in Moscow, calls his student a universal figure skater, implying her consistently high results in all three types of competition.
By the way, the women will enter the tournament arena on the second day. The program was opened by 20 men's singles skaters. Yesterday morning, for four hours, they competed in the most difficult and mysterious part of the program—compulsory figures ("school"). World Champion Aleksandr Fadeev drew compulsory figures on the Moscow ice better and more confidently than others. For them, he received the highest marks from the judges and is now leading after the first event of the program. He is followed by two other Soviet figure skaters: European vice-champion V. Kotin and V. Egorov.
Express commentary by two-time World Champion Vladimir Kovalev:
— This season I have already managed to see the new programs of Aleksandr Fadeev and Vladimir Kotin. They leave a strong impression; you get immense aesthetic pleasure from such compositions. They feature a very precise matching to the character of the music, many original innovations in choreography, and high technical quality. Regarding the free program of Kotin I should note that it is a truly artistic work. One cannot help but notice a new approach to elements in Fadeev's skating—in one of the segments, he performs a cascade of six elements, including two double jumps. In short, the men's competitions promise to be extremely interesting.
Among the foreign figure skaters, the American Christopher Bowman is performing best so far—he has the seventh result.
Ice dancers performed Westminster Waltz and Pasodoble last night. World Champions Natalya Bestemianova and Andrey Bukin are leading. In second place is the world silver-medal couple Marina Klimova and Sergey Ponomarenko, and in third—also a Soviet duo, Natalya Annenko and Genrikh Sretenskiy.​

V. KUCHMIY, A. SHELUKHIN.​

 

[Walt FSHunter]

1985
MOSCOW NEWS PRIZE

THEY WORK AS WIZARDS

(the article published in russian 'Sovetskiy Sport' on December 6, 1985)​

After two days, the situation at the "Moscow News" tournament is as follows. In pair skating, USSR champions Larisa Selezneva and Oleg Makarov are in the lead. Their version of the short program earned the highest marks—5.6–5.8. After three compulsory dances, World Champions Natalya Bestemianova and Andrey Bukin remain ahead. In the women's category, Canadian Tracy Wainman performed her compulsory program better than the others.
Dozens of coaches, dozens of judges, and hundreds of guests form a unique and colorful backdrop at the Luzhniki Palace of Sports during the figure skaters' competitions. We will try to choose the most interesting faces from this kaleidoscope—primarily those who were closest to the epicenter of events. So...​

A VIEW FROM THE COACH'S PANEL​

The short program for pairs is over. A mass of emotions, anxieties, and sighs. Right next to the rink barrier — where the carpet runner ends — stands the 'coaches' exchange'. A sort of a coach's control panel, from which all instructions and advice are given. Today, the new coach Stanislav Leonovich was spotted at this panel. Just three years ago, he himself brilliantly competed at the World Championships, and now he sends his students onto the ice—Ekaterina Gordeeva and Sergey Grinkov.
"We got unlucky with the draw today," said Leonovich. "Katya and Sergey got the number one slot. Honestly speaking, it is difficult to start. The judges are usually stingy with good marks at the beginning. However, I didn't tell the kids about this (they are convinced that they got lucky). Find allies in the arena, captivate the audience—then the program is yours."
"After the performance, I saw 5.5 on the scoreboard and realized: the kids managed to break the judges' skepticism and forced them to be generous after their charleston. They achieved a second-place result. Yes, I almost forgot to mention the most important thing: after all, my students are the youngest at the tournament. Katya is studying in the eighth grade of Moscow school No. 704, and Sergey is a first-year student at the Institute of Physical Culture."​

...FROM THE GUEST LOGE​

Nina Grigoryevna Tarasova has attended all twenty "Moscow News" international tournaments. She is the most passionate spectator, because she has to watch the work of her daughter—the Honored Coach of the USSR, Tatyana Tarasova. Here is what she recalls:
"— Last year, Tanya staged a huge number of ice routines as a choreographer. Just look at what 'Carmen' for Bestemianova and Bukin alone achieved! Plus ten more dances for young pairs. Tanya was literally collapsing from exhaustion, when she came home. But then she caught fire: at the request of Yuri Ovchinnikov she created several more routines for the 'All Stars' ice show. I tried to reason with her, said that she wouldn't have the strength for such a difficult season. A month later, when the peak of the season had passed, she lashed out at me: 'Why, mom, didn't you talk me out of it? I am suffocating from such a workload!'
In short, I got blamed for some reason. And what do you think? This autumn, ten new free programs were staged again. Including a new dance for Bestemianova and Bukin to highly complex music of Rachmaninoff."
Bolshoi Theatre ballet dancer and choreographer Elena Matveeva is also a passionate spectator. Her attention is caught by Marina Klimova and Sergey Ponomarenko. And there is a reason for that.
This winter, Marina and Sergey are performing an exhibition routine called "Experience" which you have yet to see. Do you know why it is so intriguing? Not only does it last for eight minutes — a whole mini-spectacle — but right before the eyes of the audience, the ice dancers go through three phases, three different psychological states. From my point of view, it is a very difficult experiment. I thought for a long time: who could pull off such a pure ballet spectacle? Now I know for certain that I was not mistaken in my choice. Only Klimova and Ponomarenko! These lovely, seemingly fragile ice dancers possess nerves of steel and the talent of laborers.​

...FROM BEHIND THE JUDGES' TABLE​

Him or not him? Sharpened cheekbones, a thin line of hair above thin lips, the lenses of his glasses balanced on the bridge of his nose — that doesn't quite seem like him. But the gaze is playful and charmingly disarming. And the gestures — sharp and categorical — are definitely his, that cannot be changed."
"Judge number seven is Jan Hoffmann (GDR)," the announcer cleared up our doubts. Yes, it was him. And just like before, his name echoed beneath the vaults of the Sports Palace, only now without the trail of titles: multiple World and European champion.
— Jan, who had it harder: Hoffmann the skater or Hoffmann the judge?
— Once upon a time, I couldn't understand the referees. What are they always digging for in those papers with such a serious look? It all seemed so simple: you watch the routine, and you just throw up the score cards. Now, I can't understand the skaters. They look at you with impatience, sometimes even with irritation, as if to say: "How much longer is he going to fumble around down there?!" The law of opposites... A judge has no right to make a mistake. I try to be extremely strict and objective in my scoring.
— Are you as strict in judging yourself as you are with others?
— I suppose so. One must think that this quality helped me transition to the final year of medical school in Dresden without a single failed exam, leaving me just inches away from becoming an orthopedic surgeon. Besides, it helps me precisely regulate my time, balancing it between studies, literature, music, theater, figure skating practice, skiing, and tennis...
— Where did you learn such rigid self-discipline?
— Where else?! In sports.
— How do you envision the ideal skater, say, five years from now?
— The ideal? That would probably be an athlete in the guise of an artist. They must harmoniously combine a high level of program difficulty with a flawless artistic interpretation of the music.​

V. KUCHMIY, A. SHELUKHIN.​

TECHNICAL RESULTS​

International Figure Skating Tournament "Moscow News". Moscow. Palace of Sports. December 4.

Pair skating. Short program. 1. L. Selezneva – O. Makarov – 0.4 points; 2. E. Gordeeva – S. Grinkov – 0.8; 3. V. Pershina – M. Akbarov – 1.2; 4. E. Bechke – V. Kornienko – 1.6; 5. Yu. Bystrova – A. Tarasov; 6. E. Kvitchenko – R. Kadyrkaev (all – USSR) – 2.4.
Ice Dancing. Three compulsory dances: 1. N. Bestemianova – A. Bukin – 0.6; 2. M. Klimova – S. Ponomarenko – 1.2; 3. N. Annenko – G. Sretenskiy – 1.8; 4. M. Usova – A. Zhulin – 2.4; 5. O. Volozhinskaya – A. Svinin – 3.0; 6. I. Zhuk – O. Petrov (all – USSR) – 3.6.
​

 

[Walt FSHunter]

1985
MOSCOW NEWS PRIZE

FOUR CULMINATIONS OF THE EVENING IN LUZHNIKI

(the article published in russian 'Sovetskiy Sport' on December 7, 1985)​

Four times an ovation resounded in the huge Luzhniki hall, and four times the highest scores of the day lit up on the scoreboard. The "culprits" of this success were the leaders of the USSR national team — A. Fadeev and V. Kotin, who were awarded scores of 5.9 points in the short program, N. Bestemyanova — A. Bukin and M. Klimova — S. Ponomarenko, who shone with virtuous technique in the polka and also deserved scores of 5.8–5.9 points. And yesterday evening in the women's short program competition, C. Kadavy (USA) won. The winners of the tournament in pairs skating were L. Selezneva — O. Makarov (USSR).​

THE PEAKS ARE CLOSER​

What can we say, among foreign figure skaters there are worthy contenders. For example, 18-year-old American Christopher Bowman, without making a single mistake in his short program, could claim scores of 5.7–5.8, but in artistry he is clearly inferior to our masters.
The most important thing in today's world of figure skating is individuality. European Championship silver medalist Vladimir Kotin after his performance (and he appeared on the ice as an unforgettable, temperamental soloist, as if he had just stepped off a ballet stage) said:
"My style was defined long ago, but with each new program I try to develop it, to add new facets and colors. In my view, an important step forward has been made now in the program set to the music of 'Don Quixote'."
An interesting viewpoint was shared by Anna Ilyinichna Sinilkina, Honoured President of the All-Union Figure Skating Federation. She has been closely following the competitions of our figure skaters for seventeen years, clearly remembers the compositions of the nineteen-seventies:
"Do you know who stays in your memory over these two decades?" she says. "The brightest mark was left by Yuri Ovchinnikov and Sergei Chetverukhin. One is the embodiment of passion, the other a model of elegance. And now, as the decades pass, I see two very great masters in our men's singles again, completely different in style, but so powerful and bright that it is impossible to outshine them. I am talking about world champion Alexander Fadeev and European Championship runner-up Volodya Kotin."​

THE THRILL OF CREATIVITY​

An express commentary by the three-time winner of the Moscow News tournament, Master of Sports of International Class Viktor Ryzhkin:

"The power and charm of the original dance, one of the main sections in the competitions within the event, are not yet fully appreciated. The original dance gives an excellent opportunity to make a statement on the international arena. Let us remember that our Olympic champions Lyudmila Pakhomova and Alexander Gorshkov created the famous tango 'Romantica' together with coach Elena Tchaikovskaia, which was unique in its beauty. Now this tango has become a mandatory element of the program for all couples in the world. The Americans Judy Schwomeyer and James Sladky also once had their say in the rhythm of the polka. Their polka has long been included in the compulsory program."
"I think that this season another variant of an original dance may be born, which will be emulated by figure skaters of future generations. Who will dare to master such a task? In our national team, I immediately see several duets possessing high creative potential. These are World Champions N. Bestemyanova and A. Bukin, silver medalists of the World Championship M. Klimova and S. Ponomarenko, the talented duo N. Annenko and G. Stretenskii, and the young couple M. Usova and A. Zhulin."​

VIEW FROM THE GUEST BOX​

Soloist of the Bolshoi Theater ballet, Tatyana Stepanova, has become a frequent guest at figure skating competitions for only her second season. She already has many friends, or rather, favorites, among the athletes. Today, her attention is focused on Natalya Annenko and Genrikh Stretenskii:
"I am amazed by the intuition of many of our coaches—how subtly they sense the ‘unique spark’ in their pupils!” emphasizes Stepanova. “What was initially hidden deep within the young figure skaters blossoms a year or two later, revealing itself in dances full of charm. Look at how much airiness and lightness there is in Klimova and Ponomarenko’s polka, and how much playfulness there is in the partners’ dialogue.”
"I remember last season, Annenko and Sretensky, performing their program to the music of Gershwin, presented a classical dance routine. Their style was elegiac, full of lyrical mood. But now they have boldly moved into another direction, into the realm of character dance. And, as it turns out, the female partner has suddenly transformed into a mischievous, laughing girl, captivating everyone with her coquettish disposition... ”​

WE HAVE MET YOU SOMEWHERE BEFORE​

Arranging an interview with him was not easy. Several times he replied: "No, no, later!' And immediately rushed to his student — the American figure skater Caryn Kadavy, whispering something to her before the start, frantically gesturing.
We are talking about the famous coach Carlo Fassi, who has trained a whole galaxy of 'stars', including Olympic champions Dorothy Hamill and Robin Cousins. And Fassi is also famous for the fact that, together with his wife Christa, he trains a whole group of figure skaters at the ice rink in Colorado Springs, and sometimes half of them are athletes from different countries.
— Who among your numerous students was especially dear to you?
— They are all dear to me because I gave a piece of my heart to each one. Today, my thoughts are with Caryn Kadavy. I believe she will grow into an outstanding athlete, and perhaps we will see her at the White Olympics in Calgary. Just recently, she competed among juniors, and Moscow is only her fourth senior start. A month ago, she won the 'Skate Canada' tournament…
— Could you look back at the past and name the best figure skaters of all time?
— It is an impossible task. But still, I will try. Here is my 'world team' — Peggy Fleming and Sonja Henie, Dick Button, John Curry, Irina Rodnina and Aleksandr Zaitsev, Diane Towler and Bernard Ford...
Fassi suddenly apologized and rushed off to meet Kadavy. His thoughts were back on the ice.​

V. KUCHMIY,
A. SHELUKHIN.​

TECHNICAL RESULTS​

International Figure Skating Tournament, Moscow News. Moscow, Palace of Sports, December 5.
Men (Sum of compulsory and short programs). 1. A. Fadeev — 1.0; 2. V. Kotin — 2.0; 3. V. Egorov — 3.0; 4. L. Kaznakov — 4.6; 5. G. Vardanjan (all — USSR) — 6.0; 6. C. Bowman (USA) — 6.2.
Women. Compulsory program. 1. T. Weinman (Canada) — 0.6; 2. A. Kondrashova (USSR) — 1.2; 3. C. Kadavy (USA) — 1.8; 4. N. Lebedeva — 2.4; 5. I. Krundysheva (both — USSR) — 3.0; 6. P. Komar-Sarafidis (Austria) — 3.6.

 

[Walt FSHunter]

1985
MOSCOW NEWS PRIZE

KEYS TO MELODIES

(the article published in russian 'Sovetskiy Sport' on December 8, 1985)​

World champions Natalya Bestemyanova and Andrei Bukin are the winners of the international tournament in Moscow.

This was a real celebration, it lasted for three whole days. In beautiful musical performances in ice dancing, there was everything: dazzling smiles, enchanting melodies, and exquisite costumes, and, of course, virtuosity, fantasy, and daring! Even just being a part of this celebration brings true delight.
But ice dance is not only smiles and the sparkle of costumes. It is also an invisible, at first glance, intense struggle of characters, styles, and unique individualities. And this time at the Moscow International Tournament, we witnessed an amazing variety of handwritings and directions.
We remember last season with its dramatic plot — the culmination of all major tournaments without exception was the creative rivalry between two outstanding duets — Natalya Bestemyanova and Andrei Bukin (coached by Tatyana Tarasova) and Marina Klimova and Sergei Ponomarenko (coached by Natalya Dubova). And undoubtedly, their dispute has already enriched the Soviet ice dance school and led our leaders to new heights.
And here is another page in this rivalry — the final competitions of ice dancers at the tournament-85 in Luzhniki. It was clear for everybody that the two world leading couples would present an exciting spectacle. And so it turned out.
Each of the coaches, creating new programs for this season, expressed their credo, their understanding of dance. Here is what the honored coach of the USSR Natalya Dubova says:
— In the composition to the music of Strauss, Klimova and Ponomarenko demonstrate life-affirming style, rarely seen organic plasticity, and ideal mutual understanding. In this program, danceability and virtuosity fully triumph. We arrived at this understanding of dance long ago, and everything that we create brings joy to people, introducing them to the beautiful world of dance.
When Klimova and Ponomarenko finished their performance, (and they started earlier than the rest of the competitors) very high scores flashed on the scoreboard for technical merit — 5.8, and for artistry four scores of 5.9 and two 6.0s.
Next to step onto the ice were Bestemyanova and Bukin. As expected, this was a new culmination of the evening. Again, a captivating spectacle, and again the highest scores on the scoreboard: for technical merit — seven scores of 5.9, and for artistry five scores of 5.9 and two 6.0s. Here is what the honored coach of the USSR Tatyana Tarasova says about the premiere of this dance:
— The composition to the music of Rachmaninoff, "Variations on a Theme of Paganini", is very interesting in its conception; it represents a new creative step forward. Since last year's dance to the music of "Carmen", we have preserved the emotional style, found a new direction, and built a program in a philosophical key. In my opinion, the figure skaters convincingly reveal the theme "The Muse and the Artist". And most importantly, I am proud of my students, who, despite a recent injury to Natasha, performed with full strength. After all, this is the most valuable thing, when athletes assert themselves in every start, in any situation.
And so, the winners of the tournament became Bestemyanova and Bukin. In second place were Klimova and Ponomarenko. The third place was won by Muscovites Natalya Annenko and Genrikh Sretenskii, who performed an original interpretation of a dance to the music of Shostakovich. In fourth place were the Muscovites Maya Usova and Aleksandr Zhulin — a duet that attracts with its musicality, sincerity, and generous emotionality.
​

 

[Walt FSHunter]

1985
MOSCOW NEWS PRIZE

A "SPACE ODYSSEY" ON THE ICE

(the article published in russian 'Sovetskiy Sport' on December 8, 1985)​

Events developed in an intriguing way in the pairs competition at the international tournament. A unique record was set by Leningraders Larisa Selezneva and Oleg Makarov. For the fourth consecutive time, they won the Moscow News prize, receiving the highest marks of the day for their free program: 5.6–5.8 for technical merit and 5.8–5.9 for artistry. Among the prize-winners were also Soviet athletes Veronika Pershina and Marat Akbarov, Elena Bechke and Valerii Kornienko.​

ORIGINS ​

Honored Coach of the USSR Igor Moskvin has already had to speak at press conferences in Luzhniki many times, as his students consistently head the list of prize-winners. But, perhaps, this was the first time he spoke in such detail about the concept of Selezneva and Makarov's new free program. It is truly original from the first to the very last second, and at the same time, it has the flavor of our time — contrasting, ringing rhythms, elements staggering in their complexity, unexpected transitions, and linking steps.
'Is the space theme, the theme of venturing into outer space, traceable in this composition?' Moskvin was asked.
“If you felt that, then we have achieved our goal,” the coach replied. “After all, any program is only interesting when it sparks many questions and evokes an original interpretation among the spectators.”
We decided to clarify the interpretation of the composition with the performers themselves — Larisa and Oleg.
Oleg (in a very decisive tone): “We aimed for this from the very beginning — to feel a little bit like cosmonauts, explorers of a new world. For me personally, this has been a very close theme since childhood. In our family, the wonders of modern technology are talked about as ordinary things. My father, an engineer by profession, has a fine understanding of technical problems. And my uncle, Oleg Grigorievich Makarov, is a twice Hero of the Soviet Union, a pilot-cosmonaut of the USSR. And every time he calls our home and asks in detail about my training on the ice, I feel not only the joy of speaking with Oleg Grigorievich, but also a kind of inspiration. Frankly speaking, we and our mentors Igor Borisovich Moskvin and choreographer Yuri Potemkin had been nurturing the concept of this new program for several years…”​

OF RIBBONS, GLITTER, AND SASHES ​

This time, Larisa Selezneva was congratulated not only on her breathtaking jumps, but also on her excellent costume (which, by the way, also carried a unique hint of the dark starry sky's color palette).
“Larisa, what is the secret of your skating today? Perhaps the new costume helped?”
“You are ironizing in vain. The costume is also part of the program. In this ‘starry’ costume, I involuntarily begin to step into the new role. And over many years of performing, I have become convinced that there are no secondary trifles in high-level sports. Sometimes glitter and ribbons are your ally, and sometimes—quite the opposite...”
“Where did you and Oleg have your new costumes made?”
“In Moscow, at a sports fashion atelier. There is always a lot of debate among the fashion designers regarding our programs. The music we choose intrigues them. About ten days ago, the designers launched their own special contest—for the most successful costume design for me and Oleg…”​

AT 14 YEARS OLD, TEARS ARE FORGIVABLE ​

After the short program of the pairs skating, the second-place result of the young Muscovites Ekaterina Gordeeva and Sergei Grinkov, who managed to push aside the world-class European Championship medalists Veronika Pershina and Marat Akbarov, was animatedly discussed in the corridors. It is not difficult to imagine how many sports fans were in the arena, impatiently waiting for the next start of these 'troublemakers.' And the fans applauded from the bottom of their hearts—the young skaters' program featured many complex combinations and many graceful lifts.
But, alas, this time after the skate, 14-year-old Katya Gordeeva ran to the locker room in tears. Three noticeable mistakes in the "ultra-c" elements put all previous plans into question. There was only a slim hope left that the Muscovites would hold onto third place, letting Pershina and Akbarov move ahead of them. Gordeeva and Grinkov walked to the press conference fairly cheerfully. But another trial awaited them there: the secretariat announced that with a margin of just one judging vote, Elena Bechke and Valery Kornienko from Leningrad had taken third place.
There was certainly a reason to be upset...
Marat Akbarov rightfully said at the press conference:
"We have such a high level of pair skating in the country that competing for a podium finish at any tournament—and especially at the 'Moscow News' tournament—requires absolute focus."
And the young Muscovites' coach, Stanislav Leonovich, added:
"The trial for Katya and Seryozha was very difficult. But today we were fighting not just for the result, but for the future program, for its modern direction. And that doesn't come easily to anyone. It seems you can't get by without tears... Tomorrow we will run the program again on our home rink!"​

6.0 — FOR THE IDEAL​

— Who on the Moscow ice matches your ideal in pair skating the most? What score would you give to such a pair?"
This was our last question to Jan Hoffmann. We asked the former world and European champion, and now referee, during a conversation that took place at the beginning of the tournament. "Can the answer be postponed until the free program?" he suggested. "You know, I am not a fan of predictions."
And here is his comment on the performance of the pairs. Jan Hoffmann started with a promised answer to an old question:
— An ideal composition... Is it even possible? Today, one pair seems to be a certain standard, but tomorrow someone else might perform even better. After all, there is no limit to perfection. Therefore, if a program completely captivated me as a judge, I would score it a 5.9. One-tenth is a reserve for the ideal...
In Luzhniki, I gave the highest scores to Selezneva and Makarov, with a 5.8 for artistry. To be honest, I am rarely this generous, especially at the beginning of the season. But this pair captivated me with their refined technique and their expressiveness. Their program is easy to read; it has a clear style inherent only to great original athletes. I am also impressed by the style of Pershina and Akbarov, and especially Gordeeva and Grinkov.
In general, the Soviet team performing in Moscow does so with its characteristic brilliance. It is difficult to assume that the Americans and Australians, would be able to compete with them or my compatriots Schwarz and König, —they are still too young and inexperienced, skating together for only the third year. But even if all the best pairs in the world had come to the tournament, I assume little would have changed.
The unconditional leadership of your school is completely logical. I think that the USSR championship, let's say, is harder to win than the European or World championship. At the same time, you do not stand still; you creatively continue the search for more expressive means, and this provides a wonderful stimulus for the development of this discipline in the world...​

V. KUCHMIY,
A. SHELUKHIN.​

Technical Results​

International Tournament "Moscow News", Moscow, Sports Palace, December 6.

Women. Sum of compulsory and short programs. 1. C. Kadavy (USA) — 2.2; 2. T. Weinman (Canada) — 2.2; 3. A. Kondrashova — 2.4; 4. N. Lebedeva — 3.2; 5. I. Krundysheva (all - USSR) — 5.4; 6. P. Komar-Sarafidis (Austria) — 6.8.
Pairs. Sum of short and free programs. 1. L. Selezneva and O. Makarov — 1.4; 2. V. Pershina and M. Akbarov — 3.4; 3. E. Bechke and V. Kornienko — 4.6; 4. E. Gordeeva and S. Grinkov — 5.8; 5. E. Kvitchenko and R. Kadyrkaev — 6.4; 6. Yu. Bystrova and A. Tarasov (all - USSR) — 8.0.
​

 

[Walt FSHunter]

1985
MOSCOW NEWS PRIZE

PARADE OF ICE ARTISTS

(the article published in russian 'Sovetskiy Sport' on December 10, 1985)​

The twentieth international figure skating tournament for the prize of the Moskovskie Novosti (Moscow News) newspaper concluded in Luzhniki with a colorful ice celebration.
However, the highlight was not only the final concert, but also the events that preceded it. In the competitions, the winners of the singles skating tournament became World Champion Aleksandr Fadeev and American figure skater Caryn Kadavy, who brilliantly proved that there is a special beauty in the flawless execution of complex elements.​

The Tireless Champion​

World Champion Aleksandr Fadeev added another prize to his collection—for winning the Moscow tournament. Interestingly, Aleksandr began his ascent five years ago at these very same competitions (back then, he took fifth place). Fadeev showed rare dedication—from season to season, he increased the complexity of his programs. And by December 1985, he approached the competition with an arsenal of jumps that can boldly be called unique. In Luzhniki, he performed a combination: a triple axel with a triple toe loop.
"It is a pity there was little time," he said after his performance. "Only a week before the start did I finish putting together a new program with my coach, Stanislav Alekseevich Zhuk."
— And which compositions gave you the greatest creative satisfaction?
— Perhaps three short programs from recent years—the Charleston, Rock and Roll, and "Russian Fantasy." There was also another very vibrant part—the third one—in the free program of last season. But I think that right now, we will create our strongest composition.
— What made this year's tournament in Luzhniki interesting?
— The appearance of figure skaters from the USA immediately added a special sharpness to the competition. Masters arrived in Moscow who, by all indications, will be our rivals at the World Championships. And we have already been able to see for ourselves fact that Caryn Kadavy and Christopher Bowman, young American singles skaters, are already preparing for the Olympic Games in Calgary.
— In recent years, singles skating has progressed very rapidly both in the difficulty of complex elements and in artistry. Does the influence of other disciplines of figure skating play a role in this?
— I think there is an influence. The compositions of the world's strongest ice dancers made a great impression on many masters of singles skating. For example, in the case of the famous British pair and Olympic champions Torvill and Dean, I would highlight a special harmony of technique and choreography. The more new things you learn, the faster you move forward.​

Fassi Finally Smiles...​

It seems that for the first time in the last five days, he smiled with relief. Caryn Kadavy, his student, easily and cleanly landed a triple jump, flawlessly performed a combination, curtsied to the judges, and, gliding past the stands from which "Bravo!" was echoing, slid to the boards. There, catching her breath, she fell into the embrace of Fassi. It was then that the American girl's coach could not contain an moved smile.
Kadavy's marks had not yet been announced (and they would be the highest—from 5.7 to 5.9 points), but she herself, Fassi, and the packed arena already knew: this was the best free program among the women. Sitting next to us, Elena Tchaikovskaia commented briefly:
" Kadavy is a discovery of the season."
Yes, right here in Moscow, on the Luzhniki ice, for the first time, the name of the 17-year-old talented American figure skater resounded so loudly. Just a year ago, she competed in the junior ranks, and the Moscow tournament became only her fourth senior start. Her highest achievements until now were a second-place finish at the US National Championships and a victory at the international Skate Canada tournament a month ago.
Usually a reserved and cautious person in his judgments, Fassi was unusually talkative and energetic in gestures on this day like all people of his nationality (Italian), it was the right time to interview him.
— Mr. Fassi, you used to be one of the leaders in men's skating, holding the European Champion title in the 1950s. What is the fundamental difference between the figure skating of your youth and modern figure skating?
— Approximately the same difference as between the six-seater Douglas I once flew on to competitions, and today's fantastic airliners.
— Should I understand that you link progress on the ice only with improved execution technique and the appearance of new, ultra-complex elements?
— This explanation would be too simple. Figure skating, of course, like many other sports, is developing along the path of increasing technical difficulty, and this is a natural process. But not the only one. I think, for instance, that a quadruple jump is possible. But I am not sure that it will look more graceful than high, impeccably executed jumps in two or three rotations. So when talking about progress, I primarily mean a more perfect execution performance - the purity of skating, impeccable command of edges, and polished technique of jumps and jump combinations.
— These qualities once distinguished your famous champions Peggy Fleming, Dorothy Hamill, Robin Cousins, John Curry. Are these qualities also inherent in your new pupil?
— It is easier for you to judge from the outside. I can only say that we are striving for this. Judging by the favorable reaction of the judges and Moscow audience, we achieved something. Caryn has been figure skating for eleven years, now she needs to accomplish the hardest part—realize her skills and experience on a large scale. I believe in Caryn's future, but I wouldn't want to lavish premature compliments.
— And yet, what traits in your student's character appeal to you mostly?
— A passionate, all-consuming passion for figure skating. You believe in people like that; they won't let you down.
— Do you have a large group of skaters?
— Generally, yes. My wife Christa and I train not only Americans but also European figure skaters who wished to work with us in Colorado Springs. But Kadavy is the brightest figure among them, and we, of course, pay special attention to her.
— Which of the Soviet female figure skaters impressed you the most?
— Elena Vodorezova. A talented athlete, but as I recall, she wasn't always lucky...

Meeting in the Stands

Large, slightly surprised eyes, and a natural, trusting smile. Elena Vodorezova was sitting next to us in the box of the press, eagerly watching the ice. In that gaze, there was longing, joy, and empathy. A World bronze medalist, Vodorezova left the sport after the 1984 Olympics—leaving without fully unlocking her talent. Now, she coaches young figure skaters at CSKA.
— What impression did the women's free program make on you?
— Can I start with criticism? It seems to me that lately, female skaters have become overly preoccupied with artistry and the external flashiness of their programs. But these qualities are only good if they are harmoniously combined with high execution technique. Take, for example, the highly calculated, virtuoso composition of Aleksandr Fadeev. I did not see such a combination, such a reasonable balance, in the programs of our female skaters. Unlike, say, Kadavy.
— What did you like about the American skater?
— I already mentioned the harmony of her style. Her clean skating, precision in jumps, and clarity of style are captivating. However, our leaders—Kondrashova, Lebedeva, and, of course, Ivanova, who could not compete in this tournament—generally possess these qualities too. But Kadavy does everything on the ice effortlessly and lightly; she skates for her own pleasure. The same goes for the Canadian skater, Wainman, though her program is far from perfect. Meanwhile, a certain stiffness and fear of making a mistake can be felt in all our female skaters without exception. This prevents them from showing what they are capable of. Let's hope they will overcome this barrier of insecurity by the main competitions of the year.​

V. KUCHMIY, A. SHELUKHIN.​

Technical Results​

International Tournament for the Prize of the "Moskovskie Novosti" Newspaper. Moscow, Palace of Sports. December 7–8.

Ice Dance. Combined Total. 1. N. Bestemianova — A. Bukin — 2.0; 2. M. Klimova — S. Ponomarenko — 4.0; 3. N. Annenko — G. Sretenski — 6.0; 4. M. Usova — A. Zhulin — 8.0; 5. O. Volozhinskaya — A. Svinin — 10.0; 6. I. Zhuk — O. Petrov (all — USSR) — 12.0.
Men's Singles. 1. A. Fadeev — 2.0; 2. V. Kotin — 5.0; 3. V. Egorov (all — USSR) — 7.0; 4. C. Bowman (USA) — 8.2; 5. L. Kaznakov — 9.6; 6. G. Vardanian (both — USSR) — 13.0.
Women's Singles. 1. C. Kadavy (USA) — 3.2; 2. A. Kondrashova — 4.4; 3. N. Lebedeva (both — USSR) — 6.2; 4. T. Wainman (Canada) — 7.2; 5. I. Krundysheva (USSR) — 9.4; 6. N. Sasseville (Canada) — 14.8.

​

 

[Walt FSHunter]

1985
MOSCOW NEWS PRIZE

CONVERSATION AT THE ICE RINK​

I. RODNINA: "DRAW STRENGTH FROM CREATIVITY"

(the article published in russian 'Sovetskiy Sport' on December 11, 1985)​

The applause welcoming the participants of the 20th international tournament for the prize of the newspaper "Moskovskie Novosti" has faded. Now the country's strongest figure skaters are charting a course toward Leningrad. In three weeks, the anniversary 50th USSR Championship will kick off there. The time for conclusions, comparisons, and assessments is arriving. What, then, are our gains and losses on the path to the main events of the year?
We asked the three-time Olympic champion and ten-time world champion Irina Rodnina to share her impressions.
— Irina Konstantinovna, what specific trends and features in the training of figure skaters were evident on the Moscow ice?
— Over many years, the "Moskovskie Novosti" tournament has invariably discovered new talents, both among our own skaters and foreigners. Remembering 1975, when everyone first started talking about Vodorezova. Five years later, the compositions of Kotin flashed, then two years after that, the attention was captured by Valova and Vasiliev...
And this time, the ice of Luzhniki did not disappoint our expectations, bringing discoveries and surprises. We witnessed exceptional mastery in the routines of young Americans in single skating, C. Kadavy and C. Bowman, and Soviet duos E. Gordeeva and S. Grinkov, E. Kvitchenko and R. Kadyrkaev, L. Koblova and A. Kalitin, and others. All of these are athletes of the, as they say, second tier, but I believe they will not remain in secondary roles for long.
— Which events on the Luzhniki ice made the strongest impression on you?
— There were many bright, memorable events. But perhaps the performance of the ice dancers, and above all couples like N. Bestemianova and A. Bukin, M. Klimova and S. Ponomarenko, stands out. It is wonderful that we have raised two such remarkable couples. Their creative rivalry enriches ice dance and provides a stimulus for the development of this popular discipline. Following the leaders' example, N. Annenko and G. Sretenski, as well as M. Usova and A. Zhulin, are making noticeable progress. And this, agree, gives confidence in a successful tomorrow.
A strong impression on me was made by the 17-year-old American skater Caryn Kadavy. In her style and choreography, one can feel the skilled hand of the famous coach Carlo Fassi, who has trained many champions. It is hard to even recall a female skater who, at such a young age, felt so confident and effortless on the ice, executing the most complex elements so cleanly and gracefully. I think that in two years at the Olympic tournament in Calgary, the American will be a real contender for victory.
— And what is the situation in pair skating—the discipline closest to your heart?
— Not long ago, precisely three or four years ago, we spoke with trepidation about the future of our pair skating. And there were good grounds for that. Fortunately, that alarm proved temporary. Today, our best pairs occupy leading positions in the world, and what is most encouraging is that we have a reliable reserve. This is evidenced by last year's successes on the international stage and the confident performance at the current 'Moskovskie Novosti' tournament, where seven Soviet duos significantly outmatched their foreign rivals in skill. Now, the task is to carefully preserve these young talents and nurture them into true Olympians.
I would also like to note that coaches must pay special attention to the selection of partners in a duet. It is necessary to take into account not only the technical capabilities of the athletes, but also to guide them toward future programs that feature vivid showmanship and high aesthetic taste.
— The list of medalists at the Moscow tournament includes your students Veronika Pershina and Marat Akbarov. Who else, besides them, is part of your group?
— Six pairs are currently training in my Dynamo school. Working in close contact with me is the former world champion Sergei Shakhrai and choreographer Elena Cherkasskaya. Our youth are interesting and promising. We place high hopes, for example, on Koblova and Kalitin—the kids have noticeably enriched their technical base and left a good impression at the Moscow tournament. I hope that at the national championship in Leningrad, our other students will also stand out — I. Bekker and S. Likhansky, O. Neizvestnaya and S. Khudyakov.
— We have heard you call out to your skaters during training with a rather unusual appeal: "Show your character!" What lies behind these words?
– From my own experience, I know the immense physical and psychological toll athletes endure on the ice. Therefore, it is not enough to possess refined mastery or to know how to perform complex elements — every athlete must also show character, will, and courage in difficult moments.
In the past, we were called the leaders of the Soviet national team primarily because we always strove to give our all for a high goal — to defend the honor of the team, of Soviet sports, and to be worthy representatives of our country in every way. We owe everything we achieved on the ice arena to our Motherland. That is why I tell my students: "Show your character!". A great deal lies behind these words…
— What are your plans in life and work? What do you expect from the upcoming year of 1986?
— The main task remains unchanged: to give all my strength to my chosen profession, to raise my students to be not only good figure skaters but also to become true human beings, raising them on the traditions of the Soviet school of figure skating. I believe that their performances will grace the tournaments of 1986. There is also another exciting piece of work — participating in the radio broadcasts 'Stadium for Everyone', where I can share my experience with the younger generation.
In my personal life, some updates are also expected. I am waiting for a second child, and my son Sasha is preparing for his first year at school - will start it in September. I understand that family responsibilities will take up a lot of time. However, I plan to remain on the ice as before, creating new programs — in short, living a full and creative life.​

Interview conducted by B. KUCHMIY, A. SHELUKHIN.​

 

[Walt FSHunter]

1986
WORLD JUNIOR CHAMPIONSHIPS

FIGURE SKATING

(the article published in russian 'Sovetskiy Sport' on December 12, 1985)​

BELGRADE. Soviet figure skaters continue to perform successfully at the ongoing World Junior Championship in the Sarajevo Olympic Sports Palace. After performing three compulsory dances, the world junior champions E. Krykanova and Y. Platov are ahead, with Muscovites S. Serkeli and A. Zharkov in second place.
The Odessa native V. Petrenko is leading confidently, having also performed successfully in the short program; his compatriot Yu. Tsimbalyuk is third. R. Galindo (USA) remains in second place.
​

 

[Walt FSHunter]

1986
WORLD JUNIOR CHAMPIONSHIPS

SUCCESS OF YOUNG FIGURE SKATERS

(the article published in russian 'Sovetskiy Sport' on December 13, 1985)​

BELGRADE. Soviet figure skaters achieved complete success at the World Junior Championships in the pairs competition.

Muscovites Elena Leonova and Gennady Krasnitsky won gold medals; Irina Mironenko and Dmitry Shkidchenko from Dnipropetrovsk won silver; Ekaterina Murugova and Artem Torgashev (Moscow) took bronze.
Two-time world junior champions in ice dance Elena Krykanova and Evgeni Platov took a step toward their third highest award: the students of Natalia Dubova won the compulsory and original dances. Svetlana Serkeli and Andrei Zharkov, who train in Lyudmila Pakhomova’s group, hold second place.
In women's singles, after the compulsory figures, Jana Sjodin (USA) is in the lead, followed by Kyiv native Natalia Gorbenko in second place. Natalia Skrabnevskaya from the Moscow region currently holds ninth place.​

(TASS).​

 

[Walt FSHunter]

1986
WORLD JUNIOR CHAMPIONSHIPS

FIGURE SKATING

(the article published in russian 'Sovetskiy Sport' on December 15, 1985)​

BELGRADE. For the third time, Soviet ice dancers E. Krykanova and E. Platov became the strongest junior figure skaters in the world. Second place in this category at the ongoing World Championship in Sarajevo went to the representatives of the USSR — S. Serkeli and A. Zharkov.
​

 

[Walt FSHunter]

1986
WORLD JUNIOR CHAMPIONSHIPS

FIGURE SKATING

(the article published in russian 'Sovetskiy Sport' on December 17, 1985)

SOVIET FIGURE SKATERS WIN FOUR GOLD MEDALS OUT OF FOUR AT THE WORLD JUNIOR CHAMPIONSHIP​

BELGRADE. 15-year-old Kyiv native N. Gorbenko put a winning exclamation point on the brilliant performance of Soviet figure skaters at the World Junior Championship in the Yugoslav city of Sarajevo.
Having skated her free program flawlessly, Natasha managed to overtake the leader, S. Becher from the FRG, and win the gold medal. The West German athlete made several gross errors and ultimately had to settle for silver. The bronze medal went to L. Florkevich from Canada.
N. Skrabnevskaya from the Moscow region and Kyiv native E. Denisenko took sixth and tenth places, respectively.
Thus, the USSR national team won four gold medals out of the four contested. V. Petrenko also became world champion in singles, E. Leonova and G. Krasnitsky in pairs, and E. Krykanova and E. Platov in ice dance. In total, the USSR team's medal count stands at eight medals out of twelve contested in the championship.
It is worth noting that the students of the Honored Coach of the USSR Natalia Dubova, Krykanova and Platov, won the world title for the third consecutive time.
Another medal — a silver one — was won in ice dance by Muscovites S. Serkeli and A. Zharkov. In pairs, our duets won "silver" and "bronze" — I. Mironenko and D. Shkidchenko (Dnipropetrovsk) and E. Murugova and A. Torgashev (Moscow). Finally, in singles, Yu. Tsimbalyuk took third place; by the way, he trained alongside the winner V. Petrenko in the same Odessa school under the guidance of coach Galina Zmievskaya.
​

 

[Walt FSHunter]

1985
OLD ACQUAINTANCES IN NEW ROLES

Jan HOFFMANN:

"I'LL SAVE THE 6.0 FOR THE IDEAL"

(the article published in russian 'Sovetskiy Sport' on December 22, 1985)​

It seems he was born to be a judge. His back is remarkably straight, as if held in a corset. A piercing, sharp gaze. Sharp, authoritative movements. Fine-rimmed glasses resting on the bridge of his nose. Only a judicial robe is missing.
But even without a robe, he strikes fear into the "defendants." He is stingy with praise, and even stingier with the scores on his placards. And when it is announced over the loudspeaker that judge number so-and-so is the international category referee Jan Hoffmann from the GDR, the figure skaters seem to get a visible tremble in their knees.
On the ice, Hoffmann was just as strict — both in his programs, his movements, and his choice of costumes. This strictness was not artificial; it came from his character, his very nature, and it was appreciated by both spectators and judges alike. It is not for nothing that he holds the titles of European and World Champion. And now his name echoes once again under the arches of sports palaces, as it did recently at the Luzhniki Arena during the "Moscow News" tournament. Only this time, it comes without the trail of competitive titles. Simply: judge number...​

​

---

— Jan, why a judge of all things?

— Tell me, as a journalist, have you ever felt a deep longing when you were suddenly, even if briefly, torn away from your favorite work?
— Well, let's assume I have...
— It was the same for me. In 1980, I parted ways with competitive sports. I did it quite easily, or so it seemed, as other responsibilities completely consumed me. But not even six months had passed before I began to long for it terribly. I realized that without all of this — the ice, the music, the backstage bustle — I couldn't live. The role of a referee was a chance to return to that familiar world. First, I judged the GDR championships, then the "Blue Swords" tournament, and now I have received a flattering invitation to the "Moscow News" trophy.
— And who had it tougher: Hoffmann the figure skater, or Hoffmann the judge?
— There was a time when I didn't understand judges at all. "Bureaucrats," I thought, "pure and simple." Always digging through papers with a smart look on their faces. Yet it seemed so simple: calculate the mistakes, lower the marks, hold up the placards. Elementary arithmetic. Now, I cannot understand the figure skaters. They look at you with such irritation — like, how much longer is he going to dig around over there? But you can't break my composure. I always strive to be objective and extremely strict.
— Are you as strict with yourself as you are with others?
— I believe so, yes. One must think that this exact quality helped me pass all my exams without delays and reach the final year at the Medical Institute in Dresden, leaving me just a step away from becoming an orthopedic surgeon. By the way, I didn't choose this specialization by accident — having suffered plenty from injuries myself in the past, I now want to treat others. This quality also helps me strictly regulate my time, dividing it precisely between studies, literature, organ music, theater, figure skating practice, skiing, tennis, and meetings at international judging seminars... I might have forgotten what else is on my list...
— Family responsibilities?
— I am currently spared from those. Although I already have a fiancée. But she will become my wife only after I graduate from the institute.
— You truly have a massive life agenda. Where did you learn such rigid self-discipline?
— Where else?! In sports, of course. By nature, I am a very athletic person. If there weren't an ice rink in Dresden, I would have become a track-and-field athlete, a swimmer, or a tennis player... anything at all! Later, I realized that sport is something much greater than just victories and scores. It builds will, the ability to concentrate your strength, to carve out a life goal, and to march firmly toward it. Thanks to this, I look more organized and mobile than many of my fellow students.
— You were away from the ice for five years. Have any changes occurred in figure skating during this time?
— If I tell you that today, I, a former world champion, would look completely archaic performing my old routine, would that answer satisfy you?
— On the whole, yes. But in what specific ways have today's champions surpassed the former champion Hoffmann?
— First of all, in execution mastery. That’s one. In the complexity of combinations and elements. That’s two. In artistry and expressiveness. That’s three. If I were to give one of them a 5.8 right now, I would have given Hoffmann a 5.1.
— And who, in your opinion, sets the tone in modern figure skating?
— There can be no two opinions here — Soviet figure skaters. There was a time when you had no equals only in pairs skating. Even now, your pairs are so strong that, I believe, winning the USSR Championship is harder than winning the World Championship. Then, you raised brilliant ice dance duets. After that, your men stepped onto the podium. Now, talented performers have appeared among the women as well. A truly enviable continuity. This is a clear sign that the foundations of your school are rock solid, and you are constantly enriching it creatively.
— How do you picture the ideal figure skater?
— I would say this: an athlete in the guise of an artist. And, of course, both of these roles must be performed to an "encore" standard. This only happens when a high degree of routine difficulty is harmoniously combined with a flawless artistic interpretation of the music.
— And which of the skaters do you consider closest to your ideal?
— Among the men, the Canadian Donald Jackson. Granted, I might be subjective here. After all, it was thanks to Donald that I got into figure skating in the first place — I was completely captivated by his routine to "Carmen" back then. Among the women, my compatriot Gabi Seyfert left the most vivid impression in my memory. In ice dance — Diane Towler and Bernard Ford. As for pairs skating, there has been and still is no equal to Irina Rodnina and Aleksandr Zaitsev.
— If you, as a judge, had to evaluate the performances of these skaters, you would surely not hesitate to give them a score of 6.0?
— Let's be precise, we were talking about those who are close to the ideal. I emphasize — close. But the ideal itself? Is it even possible? Tomorrow, someone will perform something that will completely eclipse what was considered the gold standard yesterday. There is no limit to perfection. So even to my idols, I would give a 5.9. I'll save the six point zero for the absolute ideal.
— Well, fine, but what if you forget that you are a judge? As a spectator, who appeals to you more than the others?
— Strictly a secret between us?
— Yes, just between us and our readers.
— I would say that at this Moscow tournament, I particularly liked Larisa Selezneva and Oleg Makarov. You won't blow my cover, will you?
...We burst out laughing.​

V. KUCHMIY.​

 

[Walt FSHunter]

1985

ONE, TWO, THREE, FOUR...

(the article published in russian 'Sovetskiy Sport' on December 24, 1985)​

"I closely follow figure skating competitions. Please tell us how the jump technique developed in figure skating."

S. FISHER.​

Leningrad.

The development of jump technique is closely tied to the increasing complexity of figure skating technique as a whole. There was a time when jumps did not exist in figure skating at all. The former name of this sport is symbolic: the art of gliding on skates. The smooth gliding of a figure skater on the ice, strictly thought out and simultaneously plastic, somewhat resembles the work of an artist. In the French language, to this day, there is no term for "figure skating"; instead, it is precisely called "the art of gliding on skates."
The skate was the common "weapon" of two different modern sports — speed skating and figure skating. From the end of the last century, a special type of skate appeared for figure skating. Its transformation contributed in no small measure to the creation of new technique.
Gradually, it became possible not only to trace figures on the ice but also to spin, push off the ice, and perform flights. The first successful attempts at flights on skates led to the creation of elementary jumps. It became clear that a jump executed boldly, confidently, and flawlessly could become an integral part of figure skating, emphasizing the expressiveness of the programs and the plasticity of the athletes.
At the turn of the twentieth century, a metal skate with toe picks appeared, allowing athletes to invent, try, and test the most complex technical elements. The majority of jumps were created and refined in the first twenty years of our century; all subsequent time, they were merely modified and grew more complex. There are two types of them: from a forward takeoff and from a backward takeoff.
At the beginning of our century, a jump of one and a half rotations (first executed by the Swede Axel Paulsen) was considered the "highlight" of the program. Perhaps to the figure skaters themselves and to numerous fans, it seemed that there was nowhere left to "jump" further. However, over recent years, it has been proven that one can perform jumps in the air not only in two, but also in three and a half, and even four rotations, just as Soviet figure skater Aleksandr Fadeev did. Who will have the final word remains unknown.
​

 

[Walt FSHunter]

1985
WE HAVE MET SOMEWHERE BEFORE

Carlo FASSI:

"BOW TO THE MASTER"

(the article published in russian 'Sovetskiy Sport' on December 28, 1985)​

It is easy to guess his Italian roots. Even without knowing his name is Carlo and his last name is Fassi. It is enough to look into his eyes — the eyes of the colour of a Neapolitan sky.
His suit, however, is of American cut, and he speaks with an English-to-American accent — guttural, swallowing his words. These habits are acquired. Carlo Fassi has been living and working in the USA, in Colorado Springs, for many years. That is where his fame traveled around the world from — the fame of a maestro, a teacher of famous figure skaters. He has trained five Olympic champions and a multitude of national champions, so many that he doesn't even remember the exact number himself.​

---

​

At the "Moscow News" tournament in Luzhniki, Fassi presented a surprise again. He brought with him an unknown 17-year-old, Caryn Kadavy, and she won the singles event, melting the hearts of both judges and spectators. Naturally, my very first question was the classic: "What is the secret of such success?", to which Fassi suddenly cut me off...
— Please, let's not talk about "coaching secrets." I don’t have them. Work from morning till night — you won't surprise anyone with that.
— And if we talk about the secret of the success of figure skater Carlo Fassi, the 1950s European Champion, can we capture that?
— You can. But the answer will be the same.
— What, at the very least, makes it clear that you place hard work above all else in any endeavor?
— I would add: meaningful, passionate work for the sake of a specific goal. It remains the invariable measure of success whether in the 1950s or today.
— And what has changed since then? What is the fundamental difference between the figure skating of your youth and modern skating?
— Roughly the same as between the six-seater "Douglas" aircraft in which I returned home as a European champion back then, and the modern supersonic airliner on which I arrived in Moscow.
— Does that mean progress on the ice is primarily linked to technical advancement, or to be exact, the complication of programs?
— Such an explanation would be too simplistic. Although, of course, development follows the path of complicating elements and compositions. And this path is natural. But it is not the only one, and certainly not the primary one. I, for instance, believe that a quadruple jump is realistic. However, I am not convinced that it will look as aesthetic as a high, flawlessly executed triple or double jump.
— Your thought shifts us to the position of the French. You have probably heard that they don't have the term "figure skating"; instead, they have "the art of skating."
— Exactly — art! And it is created from absolute mastery, flawless technical execution, and virtuosity in jumping. That is exactly what I meant, first and foremost, when speaking about the progress of figure skating.
— One does not need to be a major specialist to notice that your famous students were brought up on these exact principles: Peggy Fleming, Julie Holmes, Dorothy Hamill, Robin Cousins, John Curry. These qualities are also present in young Caryn Kadavy...
— Are you trying to pry into my coaching secrets? Yes, performance mastery is what I have always prioritized and what I instill in my students. In the pursuit of difficulty or outer visual imagery, some figure skaters forget the most important thing — performance mastery, perform simple elements… (the text cuts off)
— Do you have any favorite students?
— Like any coach. I believe that at least two of my young students — one American and the other English — possess great talent. Their last names won't mean anything to you now, but I hope you will hear them in the future. The brightest figure in the group, undoubtedly, is Kadavy, and naturally, we pay special attention to her.
— And how did she get to you?
— By mail... She wrote a sentimental letter soaked in tears from Pennsylvania, where she lived, dreaming of a figure skating career. I don't really believe in tears, but I didn't back down from my rule and I agreed to help her. And as it turned out, I wasn't mistaken. Caryn is distinguished by an absolute love and an all-consuming passion for figure skating. This is precisely what helped her rise to the top so quickly. Moscow was only her fourth senior competition; before this, she took second place at the US Championships and won the Skate Canada tournament.
— After the victory of your student in Moscow many specialists consider her one of the prime contenders for Olympic success in Calgary in 1988? How do you view this forecast?
— It’s flattering to hear. But I am a man of action, and right now I am more concerned with whether Caryn can even make the national team to begin with. This is no simple matter. We traditionally have strong singles skating, and besides, the US champion Tiffany Chin has started training. So, let’s hold off on any forecasts for now.
– You have come to Moscow, and not for the first time...
– And I have made at least three important discoveries for myself. Moscow has become even more beautiful and hospitable, the spectators even more welcoming, and your figure skating even stronger. During the tournament, I couldn't shake the feeling that for the Soviet leaders, winning at home — in pairs skating, for instance — is harder than winning at the World Championships, such is the competition. Your ice dancers are incomparable, and Fadeev is excellent. And the women? They seem to have everything except one thing — a lightness, an effortlessness in their skating. A certain stiffness, a fear of making a mistake, hangs over them. This prevents them from showing what they are truly capable of.
— Let's look to the past in closing. Whom do you consider the best figure skaters of all time?
— Can you answer who the best artist of all time is, or the best poet, or composer? See? Exactly… But if you insist, here you go: Peggy Fleming, Sonja Henie, Dick Button, John Curry, Irina Rodnina and Aleksandr Zaitsev, Diane Towler and Bernard Ford, Irina Moiseeva and Andrei Minenkov.
— Stop, stop! I asked you to name the very best.
— But these are the best. And I can continue the list. How do the French put it? ‘Artistic skating’? This art was created by many generations of magnificent masters, and I am ready to bow my knees before them…​

Interview conducted by V. KUCHMIY.​

 

[Walt FSHunter]

1986
RELAY

FIRST ICE SKETCHES

(the article published in russian 'Sovetskiy Sport' on January 3, 1986)​

March 1962. A thaw in Sverdlovsk. The coaches wake us up early in the morning. They were warned: while the ice holds on the open-air rink, the organizers will try to start the final competitions. And now the bus is already pulling up to the stadium. We put on our skates and rush to the warm-up. In our Moscow team, Galina Sedova and Georgy Proskurin, Lyudmila Suslina and Sergei Kononykhin, as well as myself with my partner Tatyana Sharanova, are competing in pairs skating.
On the soft ice, the chances of the pairs are not equal. The heaviest of the male partners—Georgy Proskurin—leaves an impressive pothole in the ice after his very first jump. A few more jumps, and it becomes clear to everyone: the competition will have to be postponed until evening. Yes, the lack of an artificial ice rink in those distant times created many difficulties for figure skating masters...
An unforgettable first Spartakiad! We were 16–17 years old, full of bold plans, dreaming of world championships, watching Sonja Henie in the movie "Sun Valley Serenade" with delight, and figuring out which of us would be the first to perform a double Lutz and a double Axel. In Sverdlovsk, we applauded the pirouettes of Tamara Bratus from Leningrad and Tatyana Nemtsova from Moscow. And no one could have guessed that just seven years later, that very Tamara Bratus, who was so nervous on the eve of her "duel" with Nemtsova, would stand on the podium of the World Championship, but now as a master of pairs skating, Tamara Moskvina.
For me, as a person who has dedicated his whole life to figure skating, it was especially pleasant to learn from the newspapers about the victory of young Soviet pairs at the World Junior Championships in Sarajevo. CSKA figure skaters Elena Leonova and Gennady Krasnitsky won gold medals. Another young generation is storming the heights of mastery. Triple twists flash like lightning. The progress of modern figure skating is obvious—our young pairs demonstrate unique combinations.
But in every new program, one could feel the continuity with those first ice sketches performed back in 1962 on the Ural rink. Today in that same Sverdlovsk, figure skaters train on three artificial rinks, and many first-class masters have emerged from the Ural schools.
The footprint left by the first Winter Spartakiad is deep. Neither blizzards nor thaws stopped our forward progress. It is symbolic that today the national teams of the republics, Moscow, and Leningrad are led by those who drew the first monograms on the Ural ice!​

A. GORELIK,
Honored Master of Sports, medalist of the 1st Winter Spartakiad of the Peoples of the USSR.​

 

[Walt FSHunter]

1986
CLUBS OF SPORTS EXPERTS — WE ANSWER

Tauride Garden and Dutch Arches

(the article published in russian 'Sovetskiy Sport' on January 4, 1986)​

Where and when were the first clubs of figure skating enthusiasts created in our country?
— E. Malyutin, Ryazan.

In the first volume of the popular reference book Everything About Sports (Publishing House "Fizkultura i Sport", 1978, 2nd expanded edition), on page 483 we read: "In Russia, the first rink for figure skaters was opened in St. Petersburg in 1865."
But does this mean that the history of domestic figure skating should be traced precisely from this date? No details regarding this fact are provided in the reference book.
Here is what writer Vl. Lidin says in his book My Friends — Books. In short essay-novellas, the author, who collected a unique library during his lifetime, talks about rare books.
While talking about a book published in St. Petersburg in 1863 with a total print run of only 33 copies in the collection of Vladimir Meshchersky, Tavriada. A Modern Poem, Vl. Lidin reports that it is dedicated to the opening of a skating and sledding rink on the hills in the garden of the Tauride Palace in St. Petersburg in 1861. He quotes the following lines from the preface to it:
"An insurmountable desire to indulge in this exercise has become noticeable throughout the entire St. Petersburg society. Old men, old women, mature and immature people have been seized by a feverish passion to buy skates, put them on, drag them to the Tauride Garden, fall twenty times a minute, etc... In drawing rooms and at balls they talked only about skating and—oh horror!—began to perform 'steps' in dancing like those performed when skating..."
The point is that not 1865, but 1861 should, according to documentally verified data, be considered the starting point in the history of our figure skating. And by performing a simple arithmetic operation, we can state: in Leningrad at the beginning of January, at the 50th jubilee USSR Championship, we can solemnly celebrate a major date—the 125th anniversary of domestic figure skating.
By the way, the glorious history of our figure skating is connected with the city on the Neva. It was here in 1877 that the "Society of Skating Enthusiasts" was founded, whose members included figure skaters as well.
In St. Petersburg in 1890, the first unofficial world championship took place, won by Russian figure skater A. Lebedev. And then, the first official world championship was held in the exact same place in 1896.
The first Olympic medals were contested by figure skaters in 1908... at the Summer Olympics in London. And the gold medal, won at these competitions by St. Petersburg resident N. Panin-Kolomenkin, became the first in our figure skating. It marked the beginning of our Olympic victories in winter sports.​

V. GANCHUK.​

 

[Walt FSHunter]

1986
USSR CHAMPIONSHIPS

A JUBILEE IN "YUBILEINY"

(the article published in russian 'Sovetskiy Sport' on January 5, 1986)​

The 50th National Figure Skating Championship Has Started in Leningrad

Women were the first to step onto the renewed ice of the "Yubileiny" Sports Palace. The lead after the "school" [compulsory figures] was taken by Olympic Games medalist Kira Ivanova. The student of former world champion Vladimir Kovalev demonstrated a high quality of skating and excellent coordination of movements.
Among the most likely contenders for awards in the jubilee championship in this discipline are Anna Kondrashova, Natalya Lebedeva, and Marina Tveretinova.
Soviet figure skaters approached these competitions with a solid "baggage". Over the last 20 years, representatives of the domestic school have won 34 gold medals at World Championships and 8 highest-caliber awards at the Winter Olympic Games.
K. Ivanova succeeded best of all in the three compulsory figures. In second place is Muscovite A. Kondrashova, and in third is Sverdlovsk resident N. Lebedeva.
In the evening, the pairs short program competitions took place. E. Gordeeva and S. Grinkov (Moscow) won.
​

 

[Walt FSHunter]

1986
USSR CHAMPIONSHIPS
CONVERSATION BY THE RINK SIDE

A Happy Choice

(the article published in russian 'Sovetskiy Sport' on January 5, 1986)​

Is it easy to become a coach, let alone a specialist in a sport as complex as figure skating? Do not expect a categorical answer from Ardo Rennik. He began his path to this profession 20 years ago and believes that only now, at the 50th USSR Championship, his students can demonstrate programs with a quality mark.
"— However, this is not yet my year," says Ardo with a gentle smile. "I expect a real revenge from my guys in 1987. That is how I have it planned."
Ardo started working as a coach at the age of 17.
"— I was shocked that for the first lesson my female students came in bloomers [harem pants] rather than in sports attire," he recalls. "I asked them what the matter was. And they replied: 'We are shy around you.' To them, I was like a suitor. That's when I realized it is not so simple to establish contact with students. Two years later, I left Tallinn for Leningrad and entered the Lesgaft Institute of Physical Education..."
"— Is that where you mastered the coaching profession?"
"— No. Back then, in my year, I met a girl—Yulia Pavlina (she was a student of coach Igor Moskvin)—and suggested we form a sports duo. For eleven years we competed in pairs skating. And our last season—1978—became our peak season. Our program included a double Axel jump and double-rotation throws. At the 1978 Winter Spartakiad of the Peoples of the USSR, we won the 'bronze' in a struggle against the future world champions Marina Cherkasova and Sergei Shakhrai."
"— And what about studying at the institute?"
"— We took our exams honestly. I knew that without solid knowledge, we wouldn't be able to process our competitive experience. And later, we were invited to work at the Sverdlovsk figure skating school..."
"— Still, what attracted you to the coaching profession?"
"— And here Ardo unexpectedly recalled his youth in Tallinn again. He uttered just two words: 'Lii Piir.' The connection between generations immediately became clear. Lii Piir, an extraordinarily energetic, emotional woman, taught figure skating lessons on natural open ice and revealed the romance of winged skates to her boys. It was then that Ardo 'fell ill' with figure skating."
"— Ardo, you and your wife Yulia have been running the pairs skating school in Sverdlovsk for fifteen years now. Do you regret your choice?"
"— Not at all, the work is to my liking. Even now, I sometimes demonstrate complex elements to the kids. And our new pair, currently competing in Leningrad—Yulia Bystrova and Aleksandr Tarasov—possesses a full modern technical arsenal. They are medalists of the Winter Universiade and a major tournament in England. By the way, Sasha also graduated from the Leningrad Institute of Physical Education. He is 24 years old, and Yulia Bystrova is 19. For pairs skating, in my opinion, this is the time of true blossoming."
"— Ardo, why do you think that your year will be 1987?"
"— There are many reasons. We are looking for reserves in the artistry of the program performance and in the complexity of elements. Under the new rules, parallel triple jumps, a triple Axel twist, and triple throws represent the highest difficulty. These will form the foundation of our pursuit."​

A. SHELUKHIN.
(Our spec. corr.).​

LENINGRAD

WHAT DO YOU KNOW ABOUT THIS?

What is the Filling of the "Pie"?

(the article published in russian 'Sovetskiy Sport' on January 5, 1986)​

The "Yubileiny" Sports Palace has dressed up and looks younger. After eighteen years of operation, its main ice arena has undergone a capital renovation. The ice gleams and shimmers under the rays of the light fixtures. And few people think about how complex the "filling" of such an ice field is. If you ask figure skaters, "How do they 'brew' the ice for you?", at best you will hear the answer: "It is frozen on concrete. And the cold is supplied through pipes." But is it really that simple?
"— Our 'pie' has a multi-layered filling," explains the chief engineer of "Yubileiny," Viktor Ilyich Mini. "If the pipes were simply embedded in concrete, such a foundation would quickly crumble into pieces. A complex waterproofing system is needed, along with special layers that cushion, so to speak, the expansion and contraction of the arena caused by temperature differences. What is included in the eleven layers? There is a mastic primer for the foundation, styrofoam, glass-fiber roofing felt, a layer of talc, reinforcing mesh, a protective concrete slab, and only then, on top of all this, 18 kilometers of pipes are installed, 'dressed' in a new concrete jacket."
The chief engineer's story makes one remember with respect those who put their labor into the mirror-smooth ice surface. In particular—the builders of Trust No. 16 of "Glavleningradstroy" and its numerous subcontractors. They brought to life a project developed at the Leningrad Zonal Research and Design Institute of Experimental Design. At first, it was assumed that the old arena would have to be dismantled and a new one laid in its place. But it turned out to be simpler and more economical to make a multi-layered "pie" on top of the old foundation. Time was saved, and the rink was only raised by 30 centimeters.
"— But this is only part of the renovation," clarifies the chief engineer. "The entire sound reinforcement system for sports and other entertainment events has been replaced. We received the equipment from the Leningrad Optical and Mechanical Association named after V. I. Lenin]. A cosmetic renovation of many premises has been carried out. All work was completed on schedule.
Right now, 'Yubileiny' is hosting the jubilee figure skating championship. And the highest evaluation for those who prepared the multi-layered ice 'pie' will be the high mastery of the athletes."​

B. AVLAS.
(Our corr.).​

LENINGRAD