- Joined
- Mar 23, 2010
Yuna did kind of "mail it in," in both programs. I do not think either program is among her best, though both were clean. I think she probably should have won, but by a small margin.
I really don't get this idea of she is 'mailing it' in. Why would someone put themselves through so much trouble, ie/ skate with pain killers, to take up one of the most musically demanding and stamina driven program instead of recycling one of their old safe well received programs. Taking up strenuous training on an injured foot, to put her personal health, reputation and legacy on the line against these crazy odds, of high pressures and even greater expectations... and apparently the most hostile crowd I have ever seen in figure skating? (Can someone name even more openly hostile crowd in figure skating history?)
She has been reported by the paparazzi who followed her secretly for months to be the last person leave the skating rink every night even switch off the lights herself because she trains hard. If the reports are true from her doctors, she has also skated with a cracked right foot which is frankly an amazing Olympic feats on its own. She could have easily pull out citing injury and just enjoy her fortune like many has done. Even with gold not possible after 149, even how she practically lost the SP (3lz3T vs 3T3T), she still insist on skate clean, last skater at the entire competition, her final performance, something she has only done twice in her career with many on this board calling her lucky at both times. She proved again, it is not luck but her personal standard of excellence. How is that mailing it in?
As far as I can tell she was clearly performing to the music and set the right mood mood for her interpretation. She was sincere and truthful to the that program, the only difference seems most people expect some sort of party girl to heckle to the crowd like Sotnikova, but clearly that was not the program she came to perform. She did her job properly, the audience and the judges on the other hand didn't, or have their own agenda.
This is a jazzy fusion Adios Nonino, more than any other romanticized version out there with greater languidness, sophistication and finesse, while it exist as a homage to the composer's father who passed away, imo it is also the composer's own defiance to uphold his art and the unconventional path he took. Conceptually, the performer and her circumstances matches well with the music and its inception. For the record, Adios wasn't written as a classic tango but a NUEVO tango that allows great deal of freedom to express via the natural physicality of movements of the performer, in this case, adapt particular skating kinesiology to the skating techniques, form and style best suited. I have originally identified this program about showcasing virtuosity and challenging perception of ladies figure skating. Taking a more 'cerebral' approach (Mathsman's term), possibly in the vain of Patrick Chan's Elegie, more about refocus on pure skating merits instead of the packaging that has more to do with an Olympic sport, less to do with audience entertainment. Where the aim is to create a well balanced great program that has good merits that will stand on its own in the years to come regardless of the rules du jour. To deliver this vision she must be perfect. There must be clarity in her choreographic movements, musicality precision, to keep up with the ever changing phrase of the mood intentions. Her choreographed movement must adequately match to respond/dictate the free flow but controlled rifting of notes, punctuation, phrasing through and through, particularly with this particular music cut of 7 major cut edit in the 4.30mins program. (Another major edit works in the grand tradition of her Gershwin, Homage to Korea, Les Miserable, now Adios) The performance imo was note perfect, even more amazing consider the circumstance she has to pull everything together.
If she is truly is mailing it in, this choreographed program is structured in such a way that if she had lost a beat here and there, lose of focus and concentration, then the overall grand vision of the program can collapse and ruined. There are literally no empty spots, no breaks. Any flaws will certainly be noticeable. This is a highly ambitious program with greater intricate musicality, more demanding choreographed movement crammed in - a thankless task under COP consider the risk and reward system (e.g improved step sequences, greater amount of movements done in shorter space of time), but it is a well balanced program of great maturity, detailing that has the hall marks of masterworks in how refined and effortlessly done it is even compared with Les Mis which is Epic and Grand in its own right, but more theatrical (more obvious) to match its west end show roots.
Actually I have often wonder if there are some sort of cultural divide prevented many to appreciate this program? Seems many failed to grasp the subtlety and nuances vs in your face type of program like her James Bond. My surveying of the Chinese figure skating boards has been Adios Nonino is highly regarded and especially well appreciated upon repeated viewing with the sense of feeling it evokes and details one notices. It is a program discussed more there while seems somewhat underrated in the western reports. I personally love the this music and thought it was a risky bold choice from Wilson to Kim which no other skater, male or female can deliver this program. It makes sense, because out of all skaters it is only Kim at this point of career with the extreme life experience, maturity of loneliness, loss/suffering, sophistication, strength, sensitivity, quiet sensuality, complex emotional intelligence and poignancy to convey the moods for this particular version of Adios, and most of all the technical proficiency to realize the grand vision in its entirety.
The original music (unedited)
http://www.youtube.com/watch?v=GgjUn4L_msg