STÉPHANE HAS NEW EXIBITION NUMBER YOU GUYS
AND Peter Grütter often disliked Stéphane's costumes
Photo by Надежда Баранова
Photo by Reuters
Mr Grütter, how are you and your students?
Thank you, everything is fine. And Stephane Lambiel, too, he is in good shape, he traines with me - of course, when he isn't off for another show. In every practice Stéphane does full run-through with all the jumps. Of course, he doesn't do two quads, only one.
Samuel Contesti has big problem with the boots. The manufacturer started using new material, and they quickly wear out, he needs a new pair almost every month. Therefore, at one point he decided to change the brand, and at first everything was good. But the heel in this model is much lower, and Samuel started to feel the pain in the heel. Then he switched back to the previous brand, but to the old model. He found a pair he'd been wearing at the European Championships in Helsinki (2008 - "Championat.ru"). He once gave those boots to a friend, and now asked them back. So now he's struggling with them ... I'm worried about all these changes.
Paolo Bacchini is okay, though there is a problem with his triple axel because he initially learned wrong technique. When he came to train with me, it was very difficult to fix. But he likes to skate. The three of us will soon go to Helsinki to Finlandia Trophy (the interview happened after the Nebelhorn Trophy. - "Championat.ru"), and then Paolo is going to take part in Skate Canada. It was a surprise. This spring, in Italy, I broke my hip at the seminar: it was very cold at the ice rink and I had a bad fall and ended up having urgent surgery... So when I was in the hospital, close to Paolo's hometown, he came to visit me and said that he received a spot at that Crand-Prix event. We were very happy about that. He has a new short program.
Photo by AP Photo/Mark Baker
To "Pinocchio"? He said in an interview that you have chosen the music.
Yes, I suggested the theme, because I already had that music. But he has rearranged it his way. I had another idea. But I cannot impose my views on others, I can only give the theme, and they choose music pieces. And I haven't seen his costume yet, don't even know what it is like. I often disliked Stéphane's costumes, for example. But if in the end it turned out that the costume worked, I had nothing to do but to agree. For example, I couldn't stand his costume for the Torino Olympics at first! But now, looking back, I have to admit that his zebra-striped costume was memorable.
Photo by Mika
Stéphane even donated it to the Olympic Museum in Lausanne.
Yes, they asked him for that costume, and he felt sad to give it away. Yeah, those were the good times, we had so much fun. Stéphane always skated in competitions at least a tiny bit better than during practice. At European Championships in Lausanne in 2002, practices were a disaster, I thought we should withdraw, and he was saying: "No, no, let me try". And then his performance in QR, short and free programs was flawless! (laughs) (Lambiel placed there fourth. - "Championat.ru") He likes to skate to the audience, it gives him the energy. But it doesn't work for everyone.
Stéphane's SP: www.youtube.com/watch
LP:
Exibition:
Paolo is very nervous before the competition, but his experience helps him. Samuel worries most of them all. His nervousness even affects his physical condition, I can tell, I see him every day. And when he comes off the ice all stressed, I tell him sometimes: took it easy, you have such a huge margin! They are so different.
You know, I think they have something in common. You have said that they choose the music themselves, choose their costumes ... Is it your choice of students or do they come to you because they feel comfortable with you, there is no pressure?
Samuel, for example, has totally different from mine taste in music and costumes. But I have to accept his choice. This year his short program to classical music, he thinks I might like. And I know that at first I won't like it anyway! But it suits him. We can only propose, but in the end they go out on the ice and skate the program, so it has to be their decision. If you work with them since childhood, you may have some influence. For practI bring music, sometimes unknown to them. Nowadays many people don't listen to the music at home at all... They go to the movies, hear the music there, and think: That's what I will skate to. But will everyone be able to understand what the program is about?
I train a girl who is now 13-year-old, and looks just like 10-year-old, I've been training her since she started to skate. And she listens to what I tell her: about the music, the costumes... When they grow up, they might want to do something different. One can only hope that at least in childhood we may have some influence on them. Unfortunately, many parents of my students don't care how their children dress, what music they listen to - where are they supposed to get an idea of a good taste?
I want to thank you for "La Traviata". You said that it would be a wonderful program - and indeed it turned out to be wonderful.
Yes, but, unfortunately, not at the Olympics, something has gone wrong there. And the idea was born here in Oberstdorf. I always knew I would not want to leave his free program ("Tango" by Astor Piazzolla "Autumn in Buenos Aires." - "Championat.ru") for the Olympics. Tango was a good program, but more suitable for galas. And when Stéphane won Nebelhorn Trophy last year, it was easier to propose to change it. If he had lost, he might have said: "Of course, I lost and now you want another program." After the competition, I asked him if he wanted to do something new for the Olympics. He replied: "Yes, but what?" And then I offered La Traviata since it had been already on my mind for two or three years.
For many years, no matter what I offered, he refused because he wanted to work with his own ideas. But last year has been already slightly different. He doubted whether to choose Italian opera, because opera (William Tell by Rossini) was already in the short program. I replied: "Well, that would be the year of Italy. You can have long program to the opera as well, it is totally different". So he didn't say "yes" or "no."
We returned from Oberstdorf, he continued skating the Tango at every practice. Once in the box with music he brought to play at the rink were two discs: one with the tango, but under it was another, with La Traviata. He said: "Écoutez, I've made a remix." So he liked the idea, he just didn't want me to choose music pieces. I was so happy then.
And, of course, it was such a pity that he wasn't able to skate as he wanted in Vancouver. It was obvious that he was focused on jumps. And I hadn't had time to tell him: "Skate from the heart." When he came off the ice, he said: "It wasn't me. It was not me who skated now." Of course, I had to agree with him. Especially when the audience isn't captured by the performance, you realize that something had gone very wrong. After Europeans, I thought it will get only better, he skated that program perfectly many times during practice.
Actually, he received all his personal bests at the Olympics. Didn't you know? Short program, long, and overall result - all three at the same competition.
Really? But you know, personal best does not mean anything. Each judge panel has different way of scoring. I still think that his skate in Tallinn, even with mistakes, was very different, much better.
It seemed to me that day in Vancouver, Stéphane was very determined, he struggled for every jump.
You know, I may be old-fashioned, but during practice, skaters spent most time on jumps, because that is the result. It's just two and two together: have you landed the jump or not. I think we were lucky in our time: we could do in competitions only those jumps that we were best at. Coaches could advise to take out of the program any element which wasn't solid, that's why we had completely different attitude. And now you have to fill the program with jumps you are uncertain of, it takes a lot of strength, both physical and moral. Unfortunately, that's what it is like now. It starts when children are learning double jumps, they come home and say: I have landed the double! They never boast that they have done a very good spin or their skating was particularly elegant.
The only good thing about the new system is that all the executed elements are estimated: the spins, the steps. There are just too many restrictions, and free program is no longer free. Every detail is taken into account. Sometimes an athlete does a beautiful spin, which you just want to admire, and then asks: where there enough revolutions?
Photo AP Photo/Mark Baker
At Nebelhorn Trophy Peter Grütter was with his student Laurent Alvarez, who placed 12-th. Choreographer Salome Brunner came for several hours just to cheer for him.
Free program was ready in summer already - said Salome - but the judges did not accept it. Laurent chose different music, and we reworked the program, he skates it just two weeks.
As I understand, you choreographed his short program as well. What other programs of yours are we going to see this season?
We made new programs with Sarah Meyer: short, long and exibition number. Unfortunately, she feels not very well, we can only hope... and we made new exibition program for Stéphane Lambiel.
That jazz number, to the Ray Charles "Let the Good Times Roll" song?
And a new one. Completely new, we just finished this morning, so today I had to hurry to get here in time.
In the documentary about the making of "Let the Good Times Roll" aired last spring on Swiss television, I was very impressed by the shots which showed you in a ballet class at the barre.
Yes, I feel that most of the new ideas comes when I'm moving more. So I try to catch every opportunity. I don't know how much longer I will be able to... Sometimes we go to the dance class with Sarah, sometimes with Stéphane. With Sarah we do more jazz, and Stéphane likes classical dance.
SOURCE: www.championat.ru/other/_skating/article-68210.html and www.championat.ru/other/_skating/article-68314.html
Photo by Надежда Баранова
Photo by Reuters
Mr Grütter, how are you and your students?
Thank you, everything is fine. And Stephane Lambiel, too, he is in good shape, he traines with me - of course, when he isn't off for another show. In every practice Stéphane does full run-through with all the jumps. Of course, he doesn't do two quads, only one.
Samuel Contesti has big problem with the boots. The manufacturer started using new material, and they quickly wear out, he needs a new pair almost every month. Therefore, at one point he decided to change the brand, and at first everything was good. But the heel in this model is much lower, and Samuel started to feel the pain in the heel. Then he switched back to the previous brand, but to the old model. He found a pair he'd been wearing at the European Championships in Helsinki (2008 - "Championat.ru"). He once gave those boots to a friend, and now asked them back. So now he's struggling with them ... I'm worried about all these changes.
Paolo Bacchini is okay, though there is a problem with his triple axel because he initially learned wrong technique. When he came to train with me, it was very difficult to fix. But he likes to skate. The three of us will soon go to Helsinki to Finlandia Trophy (the interview happened after the Nebelhorn Trophy. - "Championat.ru"), and then Paolo is going to take part in Skate Canada. It was a surprise. This spring, in Italy, I broke my hip at the seminar: it was very cold at the ice rink and I had a bad fall and ended up having urgent surgery... So when I was in the hospital, close to Paolo's hometown, he came to visit me and said that he received a spot at that Crand-Prix event. We were very happy about that. He has a new short program.
Photo by AP Photo/Mark Baker
To "Pinocchio"? He said in an interview that you have chosen the music.
Yes, I suggested the theme, because I already had that music. But he has rearranged it his way. I had another idea. But I cannot impose my views on others, I can only give the theme, and they choose music pieces. And I haven't seen his costume yet, don't even know what it is like. I often disliked Stéphane's costumes, for example. But if in the end it turned out that the costume worked, I had nothing to do but to agree. For example, I couldn't stand his costume for the Torino Olympics at first! But now, looking back, I have to admit that his zebra-striped costume was memorable.
Photo by Mika
Stéphane even donated it to the Olympic Museum in Lausanne.
Yes, they asked him for that costume, and he felt sad to give it away. Yeah, those were the good times, we had so much fun. Stéphane always skated in competitions at least a tiny bit better than during practice. At European Championships in Lausanne in 2002, practices were a disaster, I thought we should withdraw, and he was saying: "No, no, let me try". And then his performance in QR, short and free programs was flawless! (laughs) (Lambiel placed there fourth. - "Championat.ru") He likes to skate to the audience, it gives him the energy. But it doesn't work for everyone.
Stéphane's SP: www.youtube.com/watch
LP:
Click to viewExibition:
Paolo is very nervous before the competition, but his experience helps him. Samuel worries most of them all. His nervousness even affects his physical condition, I can tell, I see him every day. And when he comes off the ice all stressed, I tell him sometimes: took it easy, you have such a huge margin! They are so different.
You know, I think they have something in common. You have said that they choose the music themselves, choose their costumes ... Is it your choice of students or do they come to you because they feel comfortable with you, there is no pressure?
Samuel, for example, has totally different from mine taste in music and costumes. But I have to accept his choice. This year his short program to classical music, he thinks I might like. And I know that at first I won't like it anyway! But it suits him. We can only propose, but in the end they go out on the ice and skate the program, so it has to be their decision. If you work with them since childhood, you may have some influence. For practI bring music, sometimes unknown to them. Nowadays many people don't listen to the music at home at all... They go to the movies, hear the music there, and think: That's what I will skate to. But will everyone be able to understand what the program is about?
I train a girl who is now 13-year-old, and looks just like 10-year-old, I've been training her since she started to skate. And she listens to what I tell her: about the music, the costumes... When they grow up, they might want to do something different. One can only hope that at least in childhood we may have some influence on them. Unfortunately, many parents of my students don't care how their children dress, what music they listen to - where are they supposed to get an idea of a good taste?
I want to thank you for "La Traviata". You said that it would be a wonderful program - and indeed it turned out to be wonderful.
Yes, but, unfortunately, not at the Olympics, something has gone wrong there. And the idea was born here in Oberstdorf. I always knew I would not want to leave his free program ("Tango" by Astor Piazzolla "Autumn in Buenos Aires." - "Championat.ru") for the Olympics. Tango was a good program, but more suitable for galas. And when Stéphane won Nebelhorn Trophy last year, it was easier to propose to change it. If he had lost, he might have said: "Of course, I lost and now you want another program." After the competition, I asked him if he wanted to do something new for the Olympics. He replied: "Yes, but what?" And then I offered La Traviata since it had been already on my mind for two or three years.
For many years, no matter what I offered, he refused because he wanted to work with his own ideas. But last year has been already slightly different. He doubted whether to choose Italian opera, because opera (William Tell by Rossini) was already in the short program. I replied: "Well, that would be the year of Italy. You can have long program to the opera as well, it is totally different". So he didn't say "yes" or "no."
We returned from Oberstdorf, he continued skating the Tango at every practice. Once in the box with music he brought to play at the rink were two discs: one with the tango, but under it was another, with La Traviata. He said: "Écoutez, I've made a remix." So he liked the idea, he just didn't want me to choose music pieces. I was so happy then.
And, of course, it was such a pity that he wasn't able to skate as he wanted in Vancouver. It was obvious that he was focused on jumps. And I hadn't had time to tell him: "Skate from the heart." When he came off the ice, he said: "It wasn't me. It was not me who skated now." Of course, I had to agree with him. Especially when the audience isn't captured by the performance, you realize that something had gone very wrong. After Europeans, I thought it will get only better, he skated that program perfectly many times during practice.
Actually, he received all his personal bests at the Olympics. Didn't you know? Short program, long, and overall result - all three at the same competition.
Really? But you know, personal best does not mean anything. Each judge panel has different way of scoring. I still think that his skate in Tallinn, even with mistakes, was very different, much better.
It seemed to me that day in Vancouver, Stéphane was very determined, he struggled for every jump.
You know, I may be old-fashioned, but during practice, skaters spent most time on jumps, because that is the result. It's just two and two together: have you landed the jump or not. I think we were lucky in our time: we could do in competitions only those jumps that we were best at. Coaches could advise to take out of the program any element which wasn't solid, that's why we had completely different attitude. And now you have to fill the program with jumps you are uncertain of, it takes a lot of strength, both physical and moral. Unfortunately, that's what it is like now. It starts when children are learning double jumps, they come home and say: I have landed the double! They never boast that they have done a very good spin or their skating was particularly elegant.
The only good thing about the new system is that all the executed elements are estimated: the spins, the steps. There are just too many restrictions, and free program is no longer free. Every detail is taken into account. Sometimes an athlete does a beautiful spin, which you just want to admire, and then asks: where there enough revolutions?
Photo AP Photo/Mark Baker
At Nebelhorn Trophy Peter Grütter was with his student Laurent Alvarez, who placed 12-th. Choreographer Salome Brunner came for several hours just to cheer for him.
Free program was ready in summer already - said Salome - but the judges did not accept it. Laurent chose different music, and we reworked the program, he skates it just two weeks.
As I understand, you choreographed his short program as well. What other programs of yours are we going to see this season?
We made new programs with Sarah Meyer: short, long and exibition number. Unfortunately, she feels not very well, we can only hope... and we made new exibition program for Stéphane Lambiel.
That jazz number, to the Ray Charles "Let the Good Times Roll" song?
And a new one. Completely new, we just finished this morning, so today I had to hurry to get here in time.
In the documentary about the making of "Let the Good Times Roll" aired last spring on Swiss television, I was very impressed by the shots which showed you in a ballet class at the barre.
Yes, I feel that most of the new ideas comes when I'm moving more. So I try to catch every opportunity. I don't know how much longer I will be able to... Sometimes we go to the dance class with Sarah, sometimes with Stéphane. With Sarah we do more jazz, and Stéphane likes classical dance.
SOURCE: www.championat.ru/other/_skating/article-68210.html and www.championat.ru/other/_skating/article-68314.html