Did any of the commentators during this season mention this - that the music was never finalized until the Olympics? There were 3 events leading up to Albertville where she performed this program and every single one of them had a different mix of the music. Her jumping passes/order were also different and a lot of it had to do with not having a finalized version of her music. Makes me wonder whether this had a part in playing with her head. Kristi’s malagueña were already done and finalized by skate America and never changed
Love your analysis! I don’t they they ever openly discussed the chaos this program has caused them, but I think many share your perception. The Federation inexplicably commissioned Viktor Ryzhkin (a Soviet choreographer w/ no notable accomplishments as a choreographer) to build this program which, presumably, Midori did not like b/c it was monotonous and she had a hard time using the music to her artistic advantage. But, politically, she and her coach, Ms. Yamada, had to stick w/ it. After the lukewarm reception she got for this program at Lalique, she and her coach supposedly began rearranging things...in vain. When I heard they ditched 2/3 of the program, replaced the music and re-choreographed it weeks before Albertville, I knew it wasn’t going to go well for Midori. I am sure these distractions made her doubt herself, and the last thing she needed was a (mostly) new program to unveil under such pressure. If I were her coach, I would have considered bringing back her 1988-1989 FS with which she won the Worlds-but with some minor technical modifications-to psych her up and put an end to what had been a tumultuous season. That program was artistically superior to this one and more suitable for Midori, anyhow, in my opinion... ...and don’t even get me started about Ms. Yamada’s decision to make her change her 3A combo to a 3Lz combo on the spot... All of these changes, for sure, messed up her head...
@@nondescriptnyc yes i agree with you on all those Points. I think her 1989-1990 music and choreo La Scherazade was amazing. Also her short program thar year was so her - it was fast, cheeky, not the freaking scary sounding Spanish music - tango ( although thst was miles better than her 1996 demonic sounding short program music Firebird - I think kwaitkowski also used that music. I don’t know how anyone would not feel nervous hearing that sound. But I digress. Especially mad that she substituted the Lutz - also because if you notice, she’s been having problems with the lutz since Japan Nationals - so much so thar she did a double lutz -3t. I don’t think Yamada really helped Midori that much. I think Midori excelled despite , not because of, Yamada. Under a Christie Zarsgardness/Bezic or a frank Carroll or. Fassi guidance, Midori’s talent would have taken her to wins. I mean if Yamada was really that great of a coach she would have helped Mao Asada do better than she did but in the end, it’s really the skaters talent that makes the difference.
@@nondescriptnyc thanks for that extra insight into who choreographed Midori’s music. How did you know that? You know , doesn’t it seem that whenever a country’s politics play a role in an athlete, they seem to mess it up?
ラフマニノフの曲がオリンピックではかなりアレンジされてましたね😊何故直前で変更したのか今だに謎ですが😮
2Ltz＋3t
3A＋2t
2F
3S
3A
3L
のびのびと素晴らしい演技
そしてアルベールビルオリンピックと全然違う曲のアレンジだったことにびっくり‼️
One the best jumper in history of the sport.
最近の全日本と比べたらなんとも質素ですね
この大会のオリジナルプログラムの演技が見たいけど、放送されてなかったんですかね？6.0リクアイアド プレゼンとも2人出したってのに😂
Did any of the commentators during this season mention this - that the music was never finalized until the Olympics? There were 3 events leading up to Albertville where she performed this program and every single one of them had a different mix of the music. Her jumping passes/order were also different and a lot of it had to do with not having a finalized version of her music. Makes me wonder whether this had a part in playing with her head. Kristi’s malagueña were already done and finalized by skate America and never changed
Love your analysis! I don’t they they ever openly discussed the chaos this program has caused them, but I think many share your perception. The Federation inexplicably commissioned Viktor Ryzhkin (a Soviet choreographer w/ no notable accomplishments as a choreographer) to build this program which, presumably, Midori did not like b/c it was monotonous and she had a hard time using the music to her artistic advantage. But, politically, she and her coach, Ms. Yamada, had to stick w/ it.
After the lukewarm reception she got for this program at Lalique, she and her coach supposedly began rearranging things...in vain. When I heard they ditched 2/3 of the program, replaced the music and re-choreographed it weeks before Albertville, I knew it wasn’t going to go well for Midori. I am sure these distractions made her doubt herself, and the last thing she needed was a (mostly) new program to unveil under such pressure. If I were her coach, I would have considered bringing back her 1988-1989 FS with which she won the Worlds-but with some minor technical modifications-to psych her up and put an end to what had been a tumultuous season. That program was artistically superior to this one and more suitable for Midori, anyhow, in my opinion...
...and don’t even get me started about Ms. Yamada’s decision to make her change her 3A combo to a 3Lz combo on the spot... All of these changes, for sure, messed up her head...
@@nondescriptnyc yes i agree with you on all those Points. I think her 1989-1990 music and choreo La Scherazade was amazing. Also her short program thar year was so her - it was fast, cheeky, not the freaking scary sounding Spanish music - tango ( although thst was miles better than her 1996 demonic sounding short program music Firebird - I think kwaitkowski also used that music. I don’t know how anyone would not feel nervous hearing that sound. But I digress.
Especially mad that she substituted the Lutz - also because if you notice, she’s been having problems with the lutz since Japan Nationals - so much so thar she did a double lutz -3t.
I don’t think Yamada really helped Midori that much. I think Midori excelled despite , not because of, Yamada. Under a Christie Zarsgardness/Bezic or a frank Carroll or. Fassi guidance, Midori’s talent would have taken her to wins. I mean if Yamada was really that great of a coach she would have helped Mao Asada do better than she did but in the end, it’s really the skaters talent that makes the difference.
@@nondescriptnyc thanks for that extra insight into who choreographed Midori’s music. How did you know that? You know , doesn’t it seem that whenever a country’s politics play a role in an athlete, they seem to mess it up?