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Olympic Ladies' FS: Carolina Kostner

Skating to Ravel's Bolero sends several messages.  It means sexual maturity, drawing attention to Kostner's age (27) and making it a positive thing, reminding the viewer that she's had the experience to learn how to put emotional depth into her performance.  It means the skater is confident enough to bear comparison to Torvill and Dean's legendary 6.0 ice dance from 1984.  It means the skater believes they can sustain slow, intense pacing that builds in impact throughout the program.  Her costume adds to the impression, with the graduated sizes of sequins radiating from her neckline and the overtly sensual cut of the stretch velvet top with the mesh cut-outs, plus the formal elegance of the long sleeves and choker collar.

Ooh, the opening choreography establishes the mood nicely from the beginning.  Upright, majestic, with some attitude.

She is speeding into her 3lutz, but her upper body is so calm that she looks absolutely still while doing so.  Oh, clean jump, big jump, like an arrow through the air, whispery landing, position held as though she were a soaring eagle on a current.  It doesn't look like she's fighting the forces of air and drag and gravity at all.  Just soaring.  +2.

The connecting moves are divine.  She picks up on tiny nuances of the beat.  She hits great positions and you can sense a little smile from her before she slips back into the languor of her persona.  And then the cleanliness of her 2axel-3toe makes me cry out.  What is this wizardry?  How can her landings be so clean?  How can she do these feats with no apparent effort whatsoever?  So gentle.  She's hurtling through the air on steel and ice, and all I can think is gentle.  +2.

Triple flip!  Another pure one!  So big, sailing across the ice.  So clean, so still.  Amazing hang time .  +2.

Flying camel hopover change sit, good speed, good positions, good number of rotations.  +2.

Toe Arabian into inside bent-leg camel into catchfoot.  +1.

3loop, big and fast.  +1.  Choreography and connecting steps starting to look empty.

3toe-2toe.  0.

3salchow giant.  +2.

3salchow-2toe-2toe with slight underrotation on final landing.  0.

Straightline step sequence.  Good speed into the beginning, good interpretation of the music's tempo and mood, especially in the hauteur of her carriage, the unexpected positions with her head thrown back.  This is where her maturity and mastery shine.  Few others could pull off this degree of ownership of this music.  +3.

Oooh!  Powerful forward inside spiral driving into a mazurka well timed to the music.  +2.

Slightly wild camel illusion change sit layback.  Wobbly and understandably tired.  Closing right on the music.  -1.

Okay, time to count.


Seven triples and the repeated ones are the simplest, the toe and the salchow.  The degree of difficulty in her jumping passes is significantly lower than Asada's, and Asada was more consistent about using connecting moves between all the jumps.  Probably her speed and the size of her jumps were superior to Asada, but this is one of those things that I cannot tell without watching live in the arena; I'm just guessing.  The quality of her landings, though!  So clean!

Regal.  But this FS is definitely behind Asada's, in my opinion.


( 1 comment — Leave a comment )
Feb. 25th, 2014 11:46 pm (UTC)
I watched Torvill and Dean's "Bolero" performance. Maybe it's because ice dancing was BLEH for me, but I couldn't get into that famous performance at all LOL.
( 1 comment — Leave a comment )


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