How does this all happen? A choreographer choose music and program for an athlete, or you choose an athlete for the particular idea of the program.
– I would say both. For example, I really wanted to do a Swan Lake so I was looking, waiting for an athlete for this idea. It was Alina Zagitova, because not every skater can be a black swan. But it also happens in a different way: you need to do a program for an athlete from the group, and you get his vibe, select the music and idea for him. For example, you look at Sasha Trusova and see such an energy, and the lyric program will hardly suit her. At the same time, Alena Kostornaia seems to be born for romantic programs. However, if this year each of them have programs in their style, this does not mean that the next season will be the same. Sasha can’t always skate some kind of action movie, just as Alena will not always be a “princess”. The task of the choreographer is to develop athletes, to expand the variety of their stylistic capabilities, which we do in training: we learn some kind of moves, we do some steps to different music, we dance in all sorts of styles etc.
This season, you chose famous music for your athletes: Alina Zagitova pskated to the Phantom of the Opera and Carmen, Alena Kostornaia to Romeo and Juliet, Alexandra Trusova to the OST Kill Bill and Fifth Element. Did you do this because this images are familiar and understandable for the viewers?
– I understand the question. You have named programs to the music that everyone knows, but for the Kostornaia, Shcherbakova, Usacheva, Valiyeva and others we took the music which is unidentified for many people, one can say we “discovered” it. Answering your question, I adhere to the 50/50 ratio. For one program we take a hit, for the other – an unknown piece. Sometimes we take famous music, but think of an unexpected artistic image. For example, once we did the program for Polina Tsurskaya to the “Game of Thrones” OST, but the idea of the program had nothing to do with the show. As for Alina and her two programs, we started from the fact that she is able to skate these pieces better than everyone else who have previously skated to the Phantom of the Opera and Carmen. It was my desire, because I’ve never choreographed to this music. The goal was to make such a programs for her, so that for another three or four years no one would take them, knowing that they couldno’t perform them better than Zagitova did.