sylvia

Twinkle_RBS_gal, they're quite recent ones. One would be Onegin - the Cooper, Rojo, Cojocaru, Stiefel cast. Just the combination of everything - the fact that it was first night and a new production to boot, the beautiful choreography, the wispy sets and costumes. And the performance of each dancer was so incredibly moving - I don't think anyone can express terrible anguish the way Tamara and Adam can! I actually thought Alina-Johan were even better than Tamara-Adam - as I've said their interpretations were more complex, gave much more food for thought. But I wasn't as impressed by the Olgas and Lenskys in the Alina-Johan cast. I've forgotten which combination they danced with but they swapped them around so much it's hard to keep them straight! I think Nunez danced with both Persson and Stepanek and they were all wonderful interpretations in themselves but Alina and Ethan I enjoyed more. So ultimately I felt the first cast was more complete. Does any of that make sense! The other I think would be Rojo and Acosta in Swan Lake. It was the last one of the 2001 summer season and since Anthony Dowell was about to leave I think everyone had the idea that this production was on its way out as well. I had to queue for hours for returns and had the worst possible seats in the amphitheatre where I had to keep begging the person in front not to lean forward because his head would block the whole stage. But even from these terrible seats Tamara and Carlos were able to project every emotion to the back of the theatre and the whole of the corps were so beautiful to watch. I'd never seen Swan Lake from the amphitheatre before and it's a completely different experience to sitting in the stalls (which I wouldn't recommend at all for SL). I have lots of runners up like my first 'The Dream' (Alina debut!). And that reminds me of the final mixed bill and Dowell's last performance as Artistic Director. That was special too. Did you go for that one Twinkle? I'm trying to think of others. What are your top 3?

Its sorta the other way round for me. When I started watching ballet (Royal Ballet) I took my cue from reviews and referred to everyone by their last names (on the net). I also thought they were more recognizable and of course harder to mix up (harder to spell too!). But when I started to get to know some other ballet fans and talk to them face-to-face it felt really inappropriate - too impersonal and too cold, especially since everyone else was using their first names. So I'm unwinding myself of this habit.

Its sorta the other way round for me. When I started watching ballet (Royal Ballet) I took my cue from reviews and referred to everyone by their last names (on the net). I also thought they were more recognizable and of course harder to mix up (harder to spell too!). But when I started to get to know some other ballet fans and talk to them face-to-face it felt really inappropriate - too impersonal and too cold, especially since everyone else was using their first names. So I'm unwinding myself of this habit.

I think you'd be hard pressed to find anyone that would disagree. Watching her and Johan in Giselle was one of the most moving performances I've ever seen, right up in my top 3. Giselle is her role. Likewise Johan is the most amazing actor and I don't think anyone will ever top his Albrecht in my mind. In all the roles I've seen both she and Johan seem to put so much thought and detail into their characterisation and still manage to look natural. I thought their Onegin and Tatiana were by far the most psychologically complex out of the 4 casts I'd seen. Probably the only time Alina hasn't moved me was in The Vertiginous Thrill of Exactitude a few weeks ago but it's a ballet I find so difficult to get into I doubt anyone could save it for me. I'm looking forward to their Romeo and Juliet too - so silly they only get 1. Since everyone else gets a least 2 I bet they're doing the school matinee as well - those lucky kids! Plus they're cast together in Onegin again and Don Q (finally!) which should be fun. I'm enjoying their partnership so much.

Thanks glebb! Oberon would be the Balanchine version of Midsummer Night's Dream right, not the Ashton one right? And if you don't mind me asking do you think he has the potential to move up the ranks in Boston Ballet?

I've seen Yuri dance just the first part of Le Corsaire pdd with Darcey Bussell on video so it was hard to tell what he was like. I think I remember reading he was a soloist with Boston Ballet or something, is that right? Has he made a lot of progress in the company?

Oh ITA, with what she's done with her solo roles. She's impressed everyone left and right! And her Odile/Odette is supposed to be wonderful. It's Alina's I'm looking forward to though. I'm so jealous Sydney gets to see it first!

Lolly I share your pain. I don't live in London either and usually have lectures to attend. I usually try to make the Clore/Linbury stuff if there's something else going on on the day like an RB class or rehearsal. I'm going for William Tuckett too - I'm very curious as I haven't seen any of his work yet. He's had some very mixed reviews so I'm intrigued. I didn't realise Martin Harvey danced Mercutio - wow, was he really good? Hope we get to see Cervera and Watson and Stepanek too but there are only 4 casts right? What a shame, 9 nights of R&J doesn't seem like enough. I missed Misty Frontier but I did catch Vanessa Fenton and Alistair Marriott's works in the Clore. Now that was interesting, seeing stuff the dancers choreographed themselves. It really opened my eyes to Stepanek and Oughtred. I don't think we have any budding Bintleys or Hampsons in the RB though, at least not yet. Maybe they're still dormant.

Hi Twinkle_RBS_gal. I just love all the dancers you've mentioned. I agree, technically Zenaida's quite awesome. I thought she made a fantastically cold and powerful Myrtha last week and she just outshone everyone in In the Middle and as the Street Dancer in Don Q. I think maybe her face isn't so expressive and that may be why she doesn't come across with as much warmth as Tamara, Alina and Angel. I think it will probably hurt her when it comes to roles and she hasn't had much opportunity so far. I think the only big ballet she's done is Swan Lake and I'm pleased that Stretton is letting her dance that one on the tour and maybe next season as well. Probably her height is a hinderance as well - I think only Inaki and Jonathan are tall enough to partner her and not surprisingly Sylvie and Darcey get priority. So I wonder if we'll ever see her in Giselle, R&J etc. I think she may be going down the Debbie Bull route. As for Angel, I just fell in love this guy from the ABT videos and am so happy that he's guesting regularly with the RB. He said that he'll probably be back next season, maybe Swan Lake, Manon (can you imagine!) so crossed fingers. He was undoubtedly my favourite Basilo and it was wonderful how much energy he had with Alina in Don Q. He was good in La Bayadere too but there are all sorts of things in that ballet that turn me off (the guys costumes especially - Angel actually looked dumpy in his and made Alina look tinier than ever). I didn't think his partnership with Tamara in Giselle would work out because they seem like such different dancers though they come from the same school, but they were wonderful and as I said on another thread, so in tune with one another. I love how much joy he brings to his dancing - he shares that with Alina of course. I've seen him a couple times in RB classes and of course he just blew everyone away. The last one I watched I was with lots of friends who'd hardly seen any ballet before and they all spent their time ogling Johannes Stepanek. But by the end when Angel was pulling off his grande pirouettes, tours en l'air, etc, etc all talk was of him. You haven't offended me! Embarrassed I am to admit I love rhapsodizing about dancers I love. Just give me another name, give me another excuse!

On the British front there is Adam and Simon Cooper. I've only seen Adam but the brothers are very different dancers from what I've read. Comparisons are often invited in articles but I don't think fans compare them too much on stage.

I'm bright red now, how could I miss Jonathan Howells completely in his pas-de-six last week! Oh well, despite all the uneveness it's nice to see all the soloists getting a go. I agree, I wish we could see some kind of showcase for the dancers lower down the ranks. Do you ever go and watch the experimental stuff they put on in the Clore Lolly? A lot of the soloists and corps seem to get involved and it's where I really started to pay attention to Johannes Stepanek. I think it's a great place to catch Martin Harvey as he does quite a bit of modern stuff as well.

Jonathan Howells is still listed as a soloist on the RB website but to tell you the truth I can't remember seeing him dance in ages. Probably in some of the smaller roles but he hasn't done anything promininent lately.

Hi Lolly, been waiting to hear what your thoughts on Giselle since I saw your post on the other thread! I guess I'm not surprised that our opinions differ so much. Maybe he had First Night nerves, not enough rehearsal time so when I saw him last week it wasn't so polished. I admit that a) I was sitting in half-way up the amphitheatre so I couldn't see his face all that clearly. (Though usually the best dance-actors are able to express themselves up to the nose-bleed seats.) And B) I'd seen Alina and Johan the week before in the most amazing, breath-taking perfect performance of my life so anyone after that was bound to be a disappointment. Johan's were filled with tiny unforgettable little moments, little personal details that made his Albrecht so much more tragic, more sorrowful, more passionate. Like after he's seen Giselle for the first time in Act II and he's kneeling before her at her grave and she's dropping flowers over him, he'd pick them one by one, looking up at her in confusion, and then he closed his eyes and let the flowers tumble over him and it felt like he was surrendering himself to her completely. It was so in tune with the music and it was just one little moment that gave me chills. The other Albrechts just picked up the flowers. I thought Ivan's Albrecht was too straightforward. There was nothing that made his Albrecht special or stand out. His partnering with Miyako wasn't as smooth and floaty - in the first lift he looked like he was struggling a tiny bit and he bumped her against him on the way down but again it was probably down to inexperience and lack of rehearsal time. It was competent and technically yes he is 100% dazzling. I don't find it hard to reconcile this with a great Albrecht because Johan and Angel were dazzling too. But I should wait and be more fair. I'm going to see him with Jamie in a couple weeks so I may change my mind. 4 performances is a lot os I'm sure I'll be surprised. I definitely think he should be made a first soloist. He was so effortless and head and shoulders above the other in the pas de six it was almost embarassing. Oh well, enough from me. I'd love to read more opinions, don't mind if they're not the same as mine!

I agree about Marianela. Technically she’s wonderful and she’s proved her mettle as an actress as Gamzatti in Bayadere. I would love to see in her in some principal roles soon – Giselle, Juliet, Odile/Odette just to see how much further she can stretch. I’m disappointed Miyako hasn’t been dancing more this year. I worry that she isn’t appreciated by Stretton I can’t see him casting her in all those MacMillan ballets – Manon, Mayerling, Song of the Earth etc next year. Probably Prince of the Pagodas since she’s done it before. Hopefully Sleeping Beauty too – she's been acclaimed for it and deserves that much. Her Giselle this year proved to me that she still has ‘it’. I’m not sure about Martin Harvey. He’s definitely an eye-catcher but I don’t think he has the goods technically. I’m banking more on Ricardo Cervera. He literally saved the RB’s hide after stepping in at the last minute in Beyond Bach and was such a stand out in Por Vos Muero. I definitely think Ivan’s one to watch. I hope he’s promoted to First Soloist this year because he’s heads and shoulders above the others (and it’s silly that the RB has only one male first soloist in Sasaki who hasn’t been given much to do either). But I disagree, I definitely don’t think Ivan is ready to be a principal, though he’s ready for principal roles. He looks rather good next to Alina and there’s something sweet about them dancing together, having come from the same schools, winning the (Prix de Lausanne and being presented with exactly the same opportunities (principal in Kiev, corps in RB, she chose the former while he took the latter). But when they actually start dancing Ivan is nowhere in Alina’s league (yet). She was visibly better in Don Q last year and he was too introverted and bland as Albrecht. I know they’re rehearsing R&J together (in case Johan gets injured) but I wouldn’t look forward to that at all. But I hope the principal roles keep coming so that he continues to grow. I’m also keeping taps on Johannes Stepanek. Apart from the fact that half my friends fell helplessly in love with him during a RB class (they couldn’t believe this guy in the corps wasn’t a principal!) I think he’s a fantastic dancer, a really interesting personality. Plus he’s been getting some very prominent roles since being cast as Lensky in Onegin. I’m going to add Edward Watson to this list even though he was dismal in the Giselle pas de six. I watched him learn the R&J balcony pdd from scratch with Natasha Oughtred and was very impressed by them both, how much chemistry and personality they projected as hard work as it looked. I would really LOVE to see them dance this for real. And agree about Zenaida! She’s fantastic as well! Laura Morera too from the soloists. Waiting to see Jamie Tapper’s Giselle but I’d like to add her. Mara Galeazzi is a future principal I’m sure. Kenta Kura maybe. I like Iohna Loots a lot too. Waiting for Hubert Essakow, Nathan Coppen and Giacomo Ciriaci to break through. Also waiting to see what Stretton and Reid Andersen saw in Rupert Pennefather that caused them to cast him as the Matador in Don Q and Lensky (which he missed due to injury) respectively. And I guess we should keep an eye out for Thomas Whitehead since he’s been cast in Carmen with Tamara. I think the company’s in ‘ok’ shape. The massive list of injuries doesn’t sound good but it’s nice Stretton is recruiting so many new dancers. Laura Cuthbertson caught the eye of my friends and I’m curious what we’ll see out of Jamie Bond. Stretton’s still auditioning right now so we may see more names come September. I guess the nice thing about shake-ups is seeing so many dancers one probably wouldn't see otherwise (though I hate how we're seeing less of some favoured ones). And I’m absolutely ecstatic that Robert Tewsley has decided to join.

Having read everyone else's posts and realizing that I've veered off slightly in assuming that the debut might not be as good as the experienced dancer, I'll concur and say that it depends on whether one has seen the experienced dancer before. If not I'd definitely go for the older dancer - you never know when it may be their last. I just missed out on seeing Irek Mukhamedov and having been kicking myself since. The change in artistic directors at the RB has me wondering if I'll ever see Miyako Yoshida and Sarah Wildor's Juliets again. If I have seen the more experienced dancer in the role before I'd go for the debut...maybe. Again, it may be their one and only shot, who knows? So nowdays I avoid these choices and see everyone in everything!

Having read everyone else's posts and realizing that I've veered off slightly in assuming that the debut might not be as good as the experienced dancer, I'll concur and say that it depends on whether one has seen the experienced dancer before. If not I'd definitely go for the older dancer - you never know when it may be their last. I just missed out on seeing Irek Mukhamedov and having been kicking myself since. The change in artistic directors at the RB has me wondering if I'll ever see Miyako Yoshida and Sarah Wildor's Juliets again. If I have seen the more experienced dancer in the role before I'd go for the debut...maybe. Again, it may be their one and only shot, who knows? So nowdays I avoid these choices and see everyone in everything!

Coincidence!! You must have read my mind because I was thinking about posting this question just today, albeit on another board. It's been on my mind having seen the promising young soloist Ivan Putrov make his Royal Ballet debut in Giselle. There's been a lot of grumblings that the RB imports too many guests (Corella, Stiefel) and doesn't make enough use of it's own men. We're a little short of men at the moment, made worse by a load of injuries (only 2 working male principals, and only 1 first soloist who was/is in Japan). Putrov was drafted in as a replacement but I found his Albrecht lacking in depth or expression. If Putrov is the best we've got then I'm quite happy to bring in ABT stars rather than face sub-par performances by soloists. Shouldn't the RB have to meet certain standards? The idea of seeing lots of new faces is very exciting in principle but it's very deflating when you actually get round to seeing them and they're not very good. I said on the RB Giselle thread that even my friends who were watching ballet for the very first time couldn't see why Giselle would fall for him, which is a bit of a gyp. On the other hand I get the impression that the RB are pushing Putrov in a lot of important roles (he understudied for Marguerite and Armand and is the only one of two men cast for Month in the Country) to help improve his expression and on-stage presence and I can't argue with this logic. How can stage-time do anything but help? Plus it IS exciting to watch young artists grow in the roles. So my answer? I don't know! They have to be ready or else you may be cheating the audience. But maybe dancers rarely give 'complete' performances until they've done it a few times. Would it be ok if I poached this topic and posted it on the UK boards?

Coincidence!! You must have read my mind because I was thinking about posting this question just today, albeit on another board. It's been on my mind having seen the promising young soloist Ivan Putrov make his Royal Ballet debut in Giselle. There's been a lot of grumblings that the RB imports too many guests (Corella, Stiefel) and doesn't make enough use of it's own men. We're a little short of men at the moment, made worse by a load of injuries (only 2 working male principals, and only 1 first soloist who was/is in Japan). Putrov was drafted in as a replacement but I found his Albrecht lacking in depth or expression. If Putrov is the best we've got then I'm quite happy to bring in ABT stars rather than face sub-par performances by soloists. Shouldn't the RB have to meet certain standards? The idea of seeing lots of new faces is very exciting in principle but it's very deflating when you actually get round to seeing them and they're not very good. I said on the RB Giselle thread that even my friends who were watching ballet for the very first time couldn't see why Giselle would fall for him, which is a bit of a gyp. On the other hand I get the impression that the RB are pushing Putrov in a lot of important roles (he understudied for Marguerite and Armand and is the only one of two men cast for Month in the Country) to help improve his expression and on-stage presence and I can't argue with this logic. How can stage-time do anything but help? Plus it IS exciting to watch young artists grow in the roles. So my answer? I don't know! They have to be ready or else you may be cheating the audience. But maybe dancers rarely give 'complete' performances until they've done it a few times. Would it be ok if I poached this topic and posted it on the UK boards?

On Saturday I had a chance to see Tamara Rojo and Angel Corella in Giselle and I have to say I absolutely loved it. Tamara is so very different to Alina. She doesn't have that fragile, "not-of-this-earth" breath-taking quality that Alina has. She seems much more earthy, displaying more personality. Initially in her dancing with Albrecht she had this wonderful balance of shyness and flirtation and she was so charming to watch. I'm flummoxed by some of the reviews that have said she doesn't even try to act because clearly she does and the critics positively gushed over her in last year's Giselle. Her partnership with Angel was better than I expected. Before the run started I thought this pairing was the most fascinating of the five or six because I've only ever seen Angel in flamboyant roles and Tamara in very dramatic ones. Plus they'd both been schooled by Victor Ullate and I didn't ever think I'd see them dance together. I was wondering how well they'd match up. Well, they both projected youth, an instant warmth and joyfulness that I loved. They were very much in tune with each other and I felt like there was an instant connection between Giselle and Albrecht, assisted by their physically similarity with their dark eyes and dark hair. I thought they had much more in the way of instant chemistry and sparks than Cojocaru and Kobborg had. The pas de six was again disappointing. Little unison and Edward Watson was so off I thought he must be injured until I saw him dance (much better) in the evening performance. I've heard some complaints about the lack of rehearsal time. In Act II Tamara succeeded in that look of other-worldliness, was ghostly and dreamy in her beauty. Technically the two were just awesome, both in their solos and their pas-de-deux. It wasn't quite as effortless as that of Cojocaru and Kobborg but it was very very close and not something I would have even noticed if I hadn't seen the latter last week. I'm really happy that their partnership has worked out and given the unreliable fitness of our male principals I hope we see lots more of Angel. He's said he's in discussion to guest next season (maybe Swan Lake, Manon!) so crossed fingers. Gillian Revie stepped in for Zenaida Yanowsky (hope she's not injured) as Myrtha and was very admirable though not as crisp. Bennet Gartside danced Hilarion - again! Poor guy, does he have to die night after night after night? And again the corps were superb in both acts. Not a compliment I have the opportunity to use often with regards to the RB so I'm going to say it as much as possible while I can! That was the matinee. I also saw Act I of Leanne Benjamin and Ethan Stiefel's Giselle before I had to run to catch a flight. Again, physically Leanne and Ethan look very suited to one another but there wasn't any connection or real chemistry in my eyes. I didn't find Leanne very moving but I have to admit she isn't a favourite of mine. Ethan on the other hand is. I was really looking forward to his Albrecht especially since he's said it's his favourite role but I was very let down. His miming, which was so beautiful and expressive in Bayadere last month looked hammy and over the top here. What works for one ballet doesn't work for another I guess. The start of their first pas de deux, where they both do those series of jetés with Albrecht trying to catch Giselle looked kind of wrong. What I adored about Cojocaru and Kobborg were how in sync they seemed to be with each other. Like with the jetés even when they were dancing apart, they seemed to be dancing together. Likewise, though to a slightly lesser extent, with Rojo and Corella. There wasn't any effort made to be in unison for Ethan and Leanne. Another point I noticed is when Albrecht does his solo - Corella I think kept his focus on Giselle, like he was dancing for her, showing off to her, demonstrating his love, while Ethan had his focus on the audience. I have no idea how important this is supposed to be. Maybe this is saying something about Giselle and Albrecht in itself. Maybe I'm reading way too much into it all. But there were so many moments throughout when I couldn't help grimacing or thinking 'yuk'. I've definitely been spoiled by Cojocaru, Kobborg, Rojo and Corella. And Miyako Yoshida too. (If she's driven out of the RB from lack of roles the way Sarah Wildor was I will NOT be happy.) I'm rather sorry I missed Act II because it usually surpasses Act I. And even if the acting is lousy great dancing can save it as I saw with Ivan Putrov and I'd expect from Ethan and Leanne. I know I'm being really unfair in reviewing just half the ballet so I'd love to hear from anyone else. I'm very curious to hear how Jamie Tapper did as the Queen. Oh well, that's all for now. Goodbye Ethan and Angel and come back soon! Can't wait to see Darcey and Jonathan have a go, and Jamie Tapper especially with Putrov in a couple weeks.

I caught Yoshida and Putrov in Giselle on Wednesday night. Yoshida was really exquisite, so light and lovely on her feet throughout Act I and her smile lit up the back of the amphitheatre. Putrov failed to come across so well. I was with a lot of first-time ballet goers and during the interval, while the general consensus was that Yoshida was fantastic and very musical we felt that Putrov was too introverted, not nearly as expressive. One friend commented that she couldn't really see why Giselle would fall for his Albrecht. Act II was as always superb. I can't say enough how good I think the corps are and how different they seem from the Shades of Bayadere. Yoshida was fantastic, so much restrained passion I thought. Putrov I think plays the sombre despairing prince much better than the joyful happy in love one (or the conniving cad, however you prefer to look at it). I would have thought he'd make a good Siegfried but I have some doubts about his partnering which was a tiny bit shaky at the start and the lifts weren't as smooth and weightless as...well Kobborg's but it's really unfair to compare the two so I'll stop right here. I read on another thread an opinion that he should be made a principal because of all the principal roles he's doing. Technically he's brilliant. His dancing towards the end of the ballet was amazing to watch. But I don't think he's ready to be a principal and think he has a long way to go in terms of expressing himself. He seems to hold something back when he dances. I don't see his personality, nor do I see the character of Albrecht. I think it's quite interesting that both Dowell and Stretton have cast him in Month in the Country and Stretton used him as an understudy in Margeurite & Armand. And it's good that he's been given so many principal role opportunities because I hope they push him to bring a little emotion into him. Galeazzi was a little shaky at the start I thought but was wonderful as her solos progressed. I really enjoy her in this role. The pas de six were not so good - Morera, Meissner, Davies, Raine, Cervera and Howells. Their unison was really off, their arms looked tense and they didn't look comfortable throughout. The orchestra was pretty bad. There was a duff note right from the start that nobody missed and provoked much mirth where I was sitting. Those first-time ballet goers were mostly musicians and were stunned at the difference to the way the orchestra had played from the opera the night before. Still, they adored Act II and continued to rave about it in the days after. Nice how many complete converts Giselle is churning out. I don't think the amphitheatre is ideal for Giselle. Act II looked fantastic but I was longing to see Yoshida's face in Act I. Her mad scene was very effective though I thought.

Yes I was at First Night! I wish I had the time to write this up properly but I'll just say that Alina is everything the reviews say she is and more. She was just astonishing in Act I, so detailed and nuanced and she is a truely gifted actress. Her mad scene is so mesmerising I really can't find the worlds to describe. And she and Johan are so well matched from their very first steps. Their partnership is really something special, "the real thing" as I read someone commented on one of the other boards". The lifts were wonderful in their weightlessness. And Johan himself, wow what a dancer! Those were just entrechat sixes right, because they looked like more! I just love how Judith Mackrell described him. "Beneath his mild, handsome looks and heroically elegant dancing Kobborg always suggests there is unstable emotional ground, liable to erupt with hot passions and slow broiling obsessions." I have the hardest time trying to get across to others who haven't seen him how much depth his dancing and acting has and I think that sums him up rather well! I was also really impressed with how fantastic the corps were, not just their wonderful dancing but their menace in Act II as well. I'm in love with this production! Another perfect evening! This is what Giselle should be! My only gripe is how quiet the audience seemed to be, apart from cheering on Alina and Johan of course (and a flower shower too!) I keep thinking about what Natasha Oughtred (from the corps) said at one of the Insight Evenings about how much the dancers appreciate applause after a particularly difficult bit. I thought some dancers deserved a lot more than what they got like in the pas de six, but by now I'm used to that deathly pause before someone dares to start clapping and they probably are too.

I agree, I enjoyed Yagudin's skating so much more in SLC. He was so focused there, so intent on not making any mistakes. But in Nagano he has much more passion and looked like he was really enjoying both programs. In that last step sequence in his LP it was wonderful to see that sudden burst of energy and really attack those steps. I agree about both being 'victory' skates. Great that he's on the up again.

This isn't turning out to be a great world champs. Everyone fell apart from Irina, Yoshie Onda and Fumie Sugari. So much for home-pressure! They were fantastic and very, very different. I think it'll be great if one of them can snag another gold for Japan! And Irina was so determined and lovely and really deserved those 6.0s. And I've just been watching Victoria Volchkova on a relive and I feel so sad that she isn't fulfilling her potential. She is THE best jumper out there and she can be so graceful with her long limbs but she has a confidence problem and a useless choreographer. [ March 22, 2002, 04:01 PM: Message edited by: sylvia ]

Yagudin was fantastic! Very relaxed and much faster than SLC with more oomph in his program. He actually skated it like a victory skate, fists pumping and all. He deserved the 6.0s. The men's SP was excellent. The last group was nearly flawless, the ONLY mistake being a double-footed quad attempt by Weiss. Alexander Abt was wonderful, full of joy and very passionate and he deserves silver if he's clean in the LP. He really got the Japanese crowd screaming with his step sequence. Honda was near perfect - amazing that a SP that good would only get 4th place. And I felt so sorry for Goebel who was a bit undermarked (a 5.5 for tech!)but was placed correctly. Jeffrey Buttle from Canada was also quite a discovery. Probably the best SP I've ever seen in any discipline. I think I got my biggest laugh of the day when they showed all these Japanese women moving en masse to the front at the end of the programs to throw flowers to Abt, Yagudin and Honda. I think something like 80% of the audience must be female.

Colleen, I agree with a lot of what you say. But the Worlds after the Olympics are so much to do with moving on to the next generation so I wouldn't describe a S&Z win as shallow. Many skaters turn pro after the Olympics at their peak and I do wonder if S&Z will ever have a chance to compete with S&P and B&S again. S&P said they'll decide this month and B&S are taking the next couple years off to tour. They say they may come back for Turin but I suspect like a lot of amateur skaters toeing the line they may end up turning professional. And back to Yagudin, the qualifiers haven't been shown on tv here but he seems to have done well, 5.8s and 5.9s, joing first with Goebel (who's in the other group). He's the last skater in the start order for the SP so I'm hoping for 6.0s across the board for presentation! [ March 18, 2002, 09:34 PM: Message edited by: sylvia ]