Gabriella Papadakis & Guillaume Cizeron | Page 241 | Golden Skate

Gabriella Papadakis & Guillaume Cizeron

I just uploaded the BESP version of the FD to Vimeo. Not sure how long it will last. I'm almost afraid to post the link here because who knows if Fujitv people are lurking around lol. But if you want, you might go on Vimeo and search for their names, and filter the result by "Last 24 Hours". I didn't include "Worlds" in the title.
 
Bcash said:
I just uploaded the BESP version of the FD to Vimeo. Not sure how long it will last. I'm almost afraid to post the link here because who knows if Fujitv people are lurking around lol. But if you want, you might go on Vimeo and search for their names, and filter the result by "Last 24 Hours". I didn't include "Worlds" in the title.
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Thanks Bcash!! Brilliant idea!
 
cocotaffy said:
Interview on the French broadcast C'est a vous, on youtube, not geo blocked (at least not in my country where everything is geoblocked lol) https://www.youtube.com/watch?v=yrwHN1Ghocw

Nothing very new. They do talk about how they dealt mentally with the wardrobe malfunction. They looked at each other in panic but never considered for a moment stopping, mentioning the 5 points loss. Apparently MFD said to them afterwards she was about to shout to stop the music. Gaby talk about her thoughts process as it happened: "I can't believe it's happening at the Olympics but I also thought, this is the Olympics so we need to keep on". Guillaume explains how they are mentally trained to have extremely quick inner dialogue trying to rationalize when sg bad happens in order to get back in the game.

About downtime, they haven't taken any long vacations for 4 years and might do so at this end of such a tiring Olympic cycle (so I guess a late start for them next season).

Then you all get to finally see with your own eyes the famous Nelson Monfort, us French people keep b...ing about.

Little fun fact: Gaby's mum nearly gave birth on the ice, she had her contractions while skating and training.

They then mainly talk about how they begin together, how it was luck bringing them together at such a young age. They talk about her accident asking if they are now more worried about lifts now. She isn't particularly because she didn't fall on a lift. Sometimes trying new lifts she might ask him to put her down not feeling confortable but mainly they're confortable with it. He said he does feel a bit the pressure knowing if she falls it's his fault.

Finally, while on vacation Guillaume is adamant he won't go near a skating rink and the only ice he'll see is in his glass.

My comment: they really need a longer break than in a regular season, refresh, reset and restart.
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Guillaume when he explains how fluidly they found each other and all went smooth in their partnership, from childhood on: "Tout se déroulait..ehm... au mieux" (7:54) (comme sur des patins!!) :laugh:
 
daphenaxa said:
"Le coeur a ses raisons" it's a parody of soap-opera. It's on youtube
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I didn't know this series (it's from 2005, which will be very very old by some the standards of some posters), but the first episode made me cry laughing.
 
Does anyone watched the interview with Morgan and Vanessa yesterday evening ? Or has a link for the interview ?

Btw if you don't know Le coeur a ses raisons, you should all watch it. it's the funniest thing ever done on tv xDDDDDD
 
lauravvv said:
It's not even an operetta which is also one of the options.
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Speaking of operettas, I was thinking about what scores might show up a couple of days ago, and suddenly remembered that Orphee aux enfers is an operetta. And one I could see Gabi and Guillaume working with rather more than something like The Merry Widow or Gilbert and Sullivan! Deconstructed can-can in the short, sorry I should say rhythm dance, maybe? :laugh:

And there are plenty of less overused or more obscure musicals that teams could look at, too. Classic-sounding ones like Matilda - you could do something really lovely with 'When I Grow Up' - or Mary Poppins, borderline operettas like A Gentleman's Guide to Love and Murder (which I could also see Gabi and Guillaume skating to, it's a very witty score), modern sounds like Fun Home and Hamilton, neglected classics like Once on this Island and Merrily We Roll Along, straight-up classics like The King and I...

I know that there's a list of rhythms that the skaters will have to find songs/scores to suit, but really there are so many options, it's almost a shame we have to wait until 2019-20 to see what they'll pick!
 
If they have to work on a Broadway musical, I really wish they would pick a Vincente Minnelli's piece ! Like "The Band Wagon", for instance ? I mean, can you imagine Gabi and Guillaume dancing on "Dancing in the Dark", like Fred Astaire and Cyd Charisse did back in 1953 ? OMG, that would be amazing (and it would match their style) ! I mean, Broadway musical aren't all cheap and random (like the one produced in the early 2000's, inspired by the classical genre (yet so bad), aka "Notre Dame de Paris", "Moulin Rouge", "Les Miserables" etc.) The one produced by MGM studio in the late 1940's and early 1950's are masterpieces : "Meet me in Saint-Louis", "Singing in the Rain", "An American in Paris", "The Eastern Parade", "The Band Wagon", "A Star is born" (staring Fred Astaire, Ginger Rogers, Judy Garland etc.) etc....Even "Top Hat" (although it's not the best...). Not all Broadway musicals are campy or "over-the-top" ; it's a very underrated genre.
I hope Gaby and Guillaume will pick a good piece, that's all.
As far as Opera is concerned, I really wish they would skate to a Wagner's Opera, what do you think ? Wagner was so modern at his time (like Mozart and Beethoven before him), and it's so powerful ! Like "Tristan and Isolde" prelude would be perfect for them (or even Isolde Liebestod). Or Sigmund and Sieglied love duet ! They should explore "Der Ring des Nibelungen", so much amazing areas to skate to (and Wagner is not often chosen in skating competitions). After Mozart and Beethoven, he'd be perfect ! And it would allow them to explore more "powerful" pieces (and again, on the contrary of what people think, Wagner is all about sensuality...)
Perfect for them.
 
lauravvv said:
Carmen is an opera, not a musical. It's not even an operetta which is also one of the options. I hope that you do know the difference.
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I don't, to be honest. When I say I did not have any clues about it I truly meant it :biggrin: But I'm going to get this right, because there is no way 2019-2016 SD (or RD) is happening with me being as clueless as this... When I said it as not cultural for me, I guess that was very true. :palmf:
 
Anyasnake said:
I don't, to be honest. When I say I did not have any clues about it I truly meant it :biggrin: But I'm going to get this right, because there is no way 2019-2016 SD (or RD) is happening with me being as clueless as this... When I said it as not cultural for me, I guess that was very true. :palmf:
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I have head Carmen described as the first musical and that's a description I generally agree with. it has also been adopted for obvious musical in Carmen Jones. Even things like the Marriage of Figaro have been experimentally performed in a microphoned and non-operatic style. The line between these things is often not that clear.
 
Anyasnake said:
I don't, to be honest. When I say I did not have any clues about it I truly meant it :biggrin: But I'm going to get this right, because there is no way 2019-2016 SD (or RD) is happening with me being as clueless as this... When I said it as not cultural for me, I guess that was very true. :palmf:
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icetigger pointed out that Carmen has been made into a real musical, which I didn't know, and also that it has some similarities with musicals, but officially it's considered an opera, and I have never heard/read someone refer to it as a musical before. I am also absolutely sure that judges wouldn't accept it as a musical or operetta in it's original form.

As for you being clueless about musicals, it's absolutely understandable. I myself am from Latvia in Europe, I know what a musical is, and can tell it apart from an opera (lol), but I have no extensive knowledge about musicals. Still, with this you also kind of admitted having no clue about operas as well. It's one thing not knowing what exactly is a musical, but it's another thing not knowing that 'Carmen' is an opera ;). Is it also cultural? Where you are from in that case, I wonder? Asia, South America or somewhere else? Because I can't imagine a country in Europe where it's "cultural" to have absolutely no clue about opera, except among very young people who, sadly, often have no clue about anything that came before them.
 
floatingworld said:
During the press conference for the podium winners, the latter (particularly Madi and Gaby) mentioned that the requirements for next year were introduced in a technical meeting. The video of the meeting is published online (see link below). Although I have no background on skating, I found the discussion on next year's required rhythm dance (tango) to be interesting (starts at 33:08 of the video). Apparently, it is not called 'rhythm dance', and not 'short dance'. The requirements were discussed using demonstration videos (some from Dancing with the Stars, LOL). I thought the video would be most useful for those in the forum with a more sophisticated and in-depth understanding of ice dance (attention: Anyasnake and others, :-)). But at least now I understand the distinctions between midline, diagonal, and circular step sequences. :-) Here is the link:

https://www.youtube.com/watch?v=E7tYDftWFGg
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It's funny they showed V/M's twizzles for the MR FD as an example that has many of the positive features. When it played on their screen I immediately thought it doesn't even meet the first two "double features": Not particularly innovative nor very smooth. There were many twizzle sequences this season I would rate above theirs. I just wonder how well the ISU technical committee understands their own standards lol.
 
lauravvv said:
icetigger pointed out that Carmen has been made into a real musical, which I didn't know, and also that it has some similarities with musicals, but officially it's considered an opera, and I have never heard/read someone refer to it as a musical before. I am also absolutely sure that judges wouldn't accept it as a musical or operetta in it's original form.

As for you being clueless about musicals, it's absolutely understandable. I myself am from Latvia in Europe, I know what a musical is, and can tell it apart from an opera (lol), but I have no extensive knowledge about musicals. Still, with this you also kind of admitted having no clue about operas as well. It's one thing not knowing what exactly is a musical, but it's another thing not knowing that 'Carmen' is an opera ;). Is it also cultural? Where you are from in that case, I wonder? Asia, South America or somewhere else? Because I can't imagine a country in Europe where it's "cultural" to have absolutely no clue about opera, except among very young people who, sadly, often have no clue about anything that came before them.
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Oh no, I know Carmen is not a musical, I'm not lacking that much in culture :laugh: I meant that I did not really know what Operetta was before hearing it a couple of days ago :slink: So I generalized a bit.
Same thing, I see all these posts about different musicals and I truly feel clueless. I know (by name) some of them because they are extremely famous, or very recent, but that's it.
 
Here is an interesting NYT article distinguishing opera from a musical:

https://www.nytimes.com/2011/07/10/theater/musical-or-opera-the-fine-line-that-divides-them.html

In essence (as quoted from the article):

"Here’s the difference: Both genres seek to combine words and music in dynamic, felicitous and, to invoke that all-purpose term, artistic ways. But in opera, music is the driving force; in musical theater, words come first.

This explains why for centuries opera-goers have revered works written in languages they do not speak. Though supertitles have revolutionized the art form, many buffs grew up without this innovation and loved opera anyway. As long as you basically know what is going on and what is more or less being said, you can be swept away by a great opera, not just by music, but by visceral drama.

In contrast, imagine if the exhilarating production of Cole Porter’s “Anything Goes” now on Broadway, starring the amazing triple threat Sutton Foster, were to play in Japan without any kind of titling technology. The wit of the musical is embedded in its lyrics like:

Good authors too who once knew better words

Now only use four-letter words,

Writing prose,

Anything goes.

(And this point leaves aside the whole issue that musicals like this one are also about dance.)"
 
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