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  1. #181

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    Quote Originally Posted by Andrey aka Pushkin View Post
    I/K next?
    Nothing would please me better.
    Have you heard anything or is this your wish?

  2. #182

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    He was such a joy to watch at Skate Canada. I am starting an altar to Brian Orser and praying that all my favorite skaters go to him!
    Adelina Sotnikova is the 2014 Olympic champion!

  3. #183
    Hey, Kool-Aid!
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    I love Orser but even Rippon was happy and had an excellent season debut when he went to him. Hold off on any altars I think with Brian the personalities have to mesh although I got the impression from a recent article he is willing to look at new ideas so that's a positive.
    Tessa and Scott: Thank you

  4. #184

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    I'm delighted about Fernandez's success! However at the moment this free program does nothing for me. The music is very beautiful, but he isn't quick enough in the fast parts or sttrong enough in the dramatic parts. The music overpowers his skating. Lambiel previously skated to Verdi's music and totally owned it, even when the skates weren't clean. I'm not too sure about this choice for ernandez.

    dinakt, I don't agree with your assessment of the parts of the program. If he is trying to play the Duke of Mantova, this will never do. He doesn't look or act the part of the seductive villain. IMO he should just use the score as a pretty piece of music. The parts are not put together in the correct order anyway.

    Quote Originally Posted by dinakt View Post
    Part 3 - "Bella Figlia dell'Amore"- change of mood again, lyrical, "seductive" part, back to broad arm jestures though less speed than the Opening. Duke in love.
    "In love" in a very broad sense then, given that he pays the innkeeper to sleep with his sister. They do both sort of fancy each other though.

    Part 4- "Possente Amor Mi Chiama"- theoretically, a Duke determined to retrieve his abducted love.
    That is not exactly "Possente amor mi chiama". The duke muses about his abducted "love" in the two-part aria "Ella mi fu rapita ... Parmi veder le lagrime". Then he is told that people from his own court had abducted Gilda and that she is currently locked in a room in his palace, which obviously changes the whole picture. That is the point at which he sings the joyful cabaletta "Possente amor mi chiama", where he says he shall ... errr... "console" his love, of which we see proof when Gilda soon bursts onto the stage in a nightie.

    Of course Fernandez or Brian Orser are probably not privy to the feelings of a scoundrel who doesn't mind ruining other people's lives for some short-lived pleasure. Maybe Javier should have worked with his previous coach on this free program.

  5. #185
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    Quote Originally Posted by Asli View Post
    However at the moment this free program does nothing for me. The music is very beautiful, but he isn't quick enough in the fast parts or sttrong enough in the dramatic parts. The music overpowers his skating. Lambiel previously skated to Verdi's music and totally owned it, even when the skates weren't clean.
    Lambiel actually even skated to this very music recently:
    http://www.youtube.com/watch?v=6arEZgocsuQ
    http://www.youtube.com/watch?v=_3c2MceyyO4

    But then it's not fair to compare exhibition and competitive programs...

  6. #186
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    Quote Originally Posted by Andrey aka Pushkin View Post
    I/K next?
    Maybe the banner can help?

  7. #187

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    Quote Originally Posted by reut View Post
    Lambiel actually even skated to this very music recently:
    http://www.youtube.com/watch?v=6arEZgocsuQ
    http://www.youtube.com/watch?v=_3c2MceyyO4

    But then it's not fair to compare exhibition and competitive programs...
    I meant his olympic free program to La Traviata, but this Rigoletto is very good too. Especially how he makes fun of the misogynistic "La donna è mobile". But then everything he does is so clever.

  8. #188
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    Quote Originally Posted by Asli View Post
    I meant his olympic free program to La Traviata, but this Rigoletto is very good too. Especially how he makes fun of the misogynistic "La donna è mobile". But then everything he does is so clever.
    Yes, I know that you meant "La Traviata". I just used this as an excuse to post some of his recent videos.

  9. #189
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    so far a good move, but i wonder if he remember whata morozov taught him while he was with him.

  10. #190

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    Thanks for the videos! / End of uberness.

  11. #191

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    Hi Asli!
    A propos your Opera post-
    I never said the choreo follows the plot. Of course it does not, nor can it ( and yes, I am closely familiar with it).
    I said that emotions of the Duke arias correspond to the way the middle sections are choreographed, and by that I stand. Duke's motivations, his courtiers' motivations here are not the point. The body movements change as the emotions of the music/emotions of the particular character change( broad, general emotions, where "in love", "seductive" or "horny, suave and trying hard to get under somebody's skirt" might be interchangeable). I stand by my thinking that if Javier plays the character stronger, with more clear divisions between moods in the sections, it will project better. It will not make it a little theatre drama following the plot, but will highlight the music and reach out to the audience. Now he does not play the character, and as you see, the reaction to his FD is mixed.
    PS. You are right in that "Possente" can be described more precise than "determination". Let's say excitement My point that faster spins are better not only in general, but better for that msuical section, applies.
    Last edited by dinakt; 11-02-2011 at 05:30 PM.
    improving my ballad- like lines

  12. #192
    Brezina's Nemesis
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    Quote Originally Posted by Hedwig View Post
    Nothing would please me better.
    Have you heard anything or is this your wish?
    I'm working on it
    In Soviet Russia, the skaters lobbychick YOU.

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