Thanks a lot for the article link, Geesesk8. I think it's a very, very good one, full of facts that give us Daisuke Takahashi's skating history, and also highlights the successes Nikolay Morosov has had with other Japanese skaters recently.
I have marvelled at how much Morosov has done for Takahashi, even though I have been very appreciative of Morosov's talents for a long time, ever since I saw him skate a program with Emily Nussear that he had choreographed. It was clear then that he knew how to make the most of what a skater could do at an early stage in their career, and it has become clear over the years that he is capable of maximizing a skater's appeal at any stage in their career. He is very good at showcasing a skater's strengths and disguising or de-emphasizing their weaknesses.
In the cases of the Japanese skaters with whom he has worked recently, there were problems of confidence, of feeling the pressure too much to repeat a success, or of just nerves, and Morosov has shown himself to be good medicine for a bad case of nerves. Arakawa, Ando, Takahashi: there is no way the improved performances of all three can be coincidental. I think the talent and the willingness to work hard were always there, for all three, but they needed the kind of confidence Morosov was able to help them develop. Because of this, Morosov is now not only a talented choreographer in my view, but also a talented coach.
I have marvelled at how much Morosov has done for Takahashi, even though I have been very appreciative of Morosov's talents for a long time, ever since I saw him skate a program with Emily Nussear that he had choreographed. It was clear then that he knew how to make the most of what a skater could do at an early stage in their career, and it has become clear over the years that he is capable of maximizing a skater's appeal at any stage in their career. He is very good at showcasing a skater's strengths and disguising or de-emphasizing their weaknesses.
In the cases of the Japanese skaters with whom he has worked recently, there were problems of confidence, of feeling the pressure too much to repeat a success, or of just nerves, and Morosov has shown himself to be good medicine for a bad case of nerves. Arakawa, Ando, Takahashi: there is no way the improved performances of all three can be coincidental. I think the talent and the willingness to work hard were always there, for all three, but they needed the kind of confidence Morosov was able to help them develop. Because of this, Morosov is now not only a talented choreographer in my view, but also a talented coach.