Yuna Adios Nonino Analysis:
Choreography:
In Yuna’s second olympic season, choreographer David Wilson chose this very famous music piece- Adios Nonino as her free skate music, which is a very challenging choice. How to make the program different from previous classic performances and create something new.How to make a 4 min tango free skate watchable and intriguing, satisfy people’s expectation of reigning OG champion. All there issues are difficult to tackle.
Yet, David Wilson once again exhibited his outstanding choreographic talent. Not only achieved breakthroughs in creativity/innovation, also thrived for the maximum polish in all aspects. in order to endow the program even higher artistic standard.
As mentioned before, this tango has a touch of “cold glamor” tone. This unique feeling is created through the combined effort of music version/editing, dance design and skater’s disposition and performance. It is very rare in lady’s tango skating programs. This is a major display of the ingenuity and creativity of this choreography.
Especially, music version is the important foundation. Through choosing a uncommon piano and bandoneon rendition Adios Nonino, different from all previous versions, and kept more improvised parts in music editing. Choreographer gave the FS music more personality and recognizability. Meanwhile, displayed an unique cold color tone inclined tint.
In addition, choreographer wanna uncover/explore more diverse and subtle aspects of personal emotion, through this rendition of adios nonino, this is also very original.
On top of that, choreography is crafted to the maximum level of refinement and sophistication, In order to bring the highest artistic experience, to make the audience completely absorbed within it and brought out the resonance of the whole arena. (This has actually been achieved during Yuna’s Adios Nonino performance itself, however, been completely flooded by narrow-minded patriotism before and right after her performance...)
Music editing itself is a good representation of sophistication. it kept the majority part of this adios noinio rendition’s prologue，2 themes: A and B. Skipped theme variation, directly transitioned into epilogue. structure is layered, clear（in main and subsidiary) and complete. In each segment, the music’s internal progression integrated with tech element passages, all brilliantly done. The prologue part, although relatively long, since its melody is rich. Also instrument composition has layers and variation, thus no lengthy feeling at all. From opening piano solo intro, to 3lz-3t jump combo, here comes the first emotional catharsis. After solo 3f, bandoneon debuts as the main instrument character, a more classic Argentina tango flavor started to emerge, foreshadowing the upcoming theme A. Theme A blossomed into its entirety in circular stsq, covering the whole stsq. At this time, the instrument composition is very complex, bandoneon is still kept as the main character, string instruments are added, the ratio of piano accompany is also enhanced, combined with Yuna’s affluent stsq performance, formed the climax and core of first half of this program.
After circular step sequence, music entered the B theme. It also progresses gradually internally.
Firstly, is a relatively slow and deliberate theme B display, it is bandoneon and piano’s intimate dialogue. At the time Yuna’s performance also revealed more layers and depths of emotion nuances. 2a-2t-2lo, lead by Ina Bauer, conducted the orchestral climax of theme B. with abundant emotion and romantic/swelling atmosphere, left a profound impression.
All these stops with the sudden stop of 3S. (To make it clear, the melody of theme A and B frenchrabbit refers to here is concentratedly played during circular stsq(theme A) and Ina Bauer-2A-2T-2lo jumping pass(theme B)).
Afterwards, the program entered the piano solo cadenza, through chsq and final 2A, the emotion is accumulated to the maximum. Which leads to the ultimate climax/carthasis of this program at final combination spin, bandoneon and orchestra joined again, completed the theme A’s final reoccurrence.
The dance of this program is another aspect that displays refinement and sophistication, it grasped the essence of Tango very successfully. we have talked about Yuna interprets the “firmness” feature of Tango very well, which cannot be achieved without detail-oriented choreo design. choreographically, through upright upper body posture, rapid and intense head, whole body dance, showed the ”firmness” aspect. Furthermore, intentionally designed relatively long suspension（or pose pausing）before or after it(“firm” type movement), to better highlight/contrast the explosiveness of movement.(remember Kurt Browning’s commentary during Yuna’s SITC in Sochi, “all those little pauses”, those pauses/suspension is not the commonly criticized “stand-still posing” in skating, there is no single point in Yuna’s Sochi programs where she is not skating. The feature described here or mentioned elsewhere by knowledgable people are a masterful skill universally utilized in many genres of dance)
yet “firmness” is not “stiffness”, thus “firmness” and “softness” are both required, “Softness” existed within “firmness”. Therefore, subtle dance details such as the ice touches of free leg toe picks, the gentle caress of finger cross cheeks etc. are utilized to interpret the “soft” part. Also, emphasis on the languid/casual/ease and lingering feeling upon movement completion.
In this way, the “firmness” and “softness” is greatly integrated and united in the dance.
“Softness” desolved within the frame of ”firmness”. “firmness” with the contrast of “softness”, is even more prominent, the symbiotic of “firmness” and “softness,” together created the picture of sensuality /tenderness beneath the firm exterior, left much food for audience to taste and retrospect.
Plus the afore mentioned numerous meticulously designed details in skating skills and transition parts, And the intention to express the intertwinement of internal feelings according to music changes, this program left a very refined, exquisite impression in all aspects, it is very unique, suited Yuna’s special personality, wonderful choreography.
(this part is quite difficult for me to translation, it could be better if you read the translation correspond to the specific part in the video, since you will know exactly what moves, it refers to. After reading this, you may feel some sorta of asian philosophy: ying and yang. But I wont say this program has any specific connection/intention to that, but concept like balance, contrast/conflict is universal in all ways of life. However, it could be one possible explanation, why Yuna's Adios Nonino or Homage to Korea speaks louder to Oriental fans)
