On Adios Noninos (translated from Mandarin, written by莎莎 ) Translated by Jwxy
This program was the finale of the Olympics games. So beautiful that it is tear inducing from the musical composition to the choreography to the execution, it showcases enormous theatrical charisma. While DW (David Wilson) chose to use this seemingly ordinary (warhorse?) score, he rather unexpectedly chose Luis Bravo’s rendition which adapts the use of the piano and the accordion and this version comes from the 90s theatre classics. In order to make this palpable for the stage, Bravo made theatrical changes to the original score; the spontaneous nature of piano jazz combined with its unbroken lyricism allows the score to exude emotional power, no one has attempted the full score before and its complex rhythmic changes and multi-faceted intersections/multi-flavored dimensions leaves one momentarily immobilized (forgetting one’s step). Not only did he dare to use this version but he chose to express its complex and layered intonations/intentions/facets to its extreme, every note is extrapolated to its fullest, every jump has a meeting/contact point with the music, every element has to be completely on the music.
His creation contains more than 25 technical and dance elements, every dance movement, dance transition or technical transition has to ride the music’s crest and crescendo, the amount of stamina this takes is unimaginable, and even more amazing is that the footwork at the end of the program contains at phenomenal speed/fast rhythm 9 different elements which needs to be accomplished within 15 seconds! And immediately following it is a double axle. Other people’s step sequence largely contain a spiral and inna bauer or slip jump, at most 3-4 movements, only Kim’s program is designed to contain 9 distinct and equally challenging moves. Although the drama and power of this piece of music deserves such chorographical interpretation/treatment, for the competitor it is exceedingly hard to control; to accomplish such unorthodox (more than the required) moves at the back end of the program which takes such stamina while still having to complete the jumps really is extraordinary. But this is the respect that should be shown to this sport and to the pursuit of artistic truth so I would like to thank DW for communicating to the audience what step sequence choreography can and should be like.
This is Yuna’s hardest program to date, in 4.5 minutes of music there are 7 rhythmic changes/switches and while the juxtaposition of fast and slow registers allows the viewer to fully indulge it leaves the performer exhausted. DW chose to recreate/move an entire theatre on ice yet with the only performer being Kim the complexity of the choreography forces one to stop and pause and I can only imagine the pressure she was under. Every segment is filled with emotional expression, the opening tango pose appears organic/natural/relaxed but remains distinctive , the musicality of the triple triple is astounding, the crossover to the left outer edge (?) entry fully interprets the musical emotion, the left outer entry steps on the lowest note and that sense of musical and emotional authencity is full and precise, the triple triple from take off to landing seemingly dances on the piano note and it is this symmetry between rhythm and expression/emotion that allows music and the performance to become one.
This program is truly outstanding; it fully expresses the passion of the tango, the spontaneous freedom of jazz , the lyricism of the lover/ballad. No other program contains such theatrical force/power. There can be no program more suitable for her swansong and just like what DW said only Kim can do it justice. That kind of strength, control, rhythmic awareness, musical sensitivity, fluidity, presence, emotional nuance belongs to her alone. This program well dazzle in my memory for a long time. Too me artistic truth/excellence is defined by integrity/honesty/commitment and that is exactly what this program communicates.
Original source: http://tieba.baidu.com/p/2896746210