It was a hard program because they really took time to highlight the music, and the accents are quick and staccato. They picked a very difficult piece of music for the Olympic year because it was the only music they felt any connection with. What I also love about their virtuosity and their musicality is that they never really settled. I don’t need to understand French to feel it, they made the movement match the music so well that it becomes universal. Special shout out to the fucking stunning backwards inside edge they both hit as they go around the corner. I also love the moment in this gif, the abandon in their movements echoes the abandon in the song as Catherine Deneuve sings “je ne peux pas, je ne peux pas” and it really does feel like they can’t help but move this way. The first lift was so effective, all the of the step sequences were musical and lilting and joyous. Umbrellas of Cherbourg was just a piece of mastery in terms of hitting musical highlights. Then the last moment with Scott’s arms and the violin again… All of this matches the music so well, it very much feels like they had this choreographed already, and then Jean Sibelius wrote Valse Triste for them. Also, the last lift directly on the crescendo of the music, when Tessa raises her hands into the air when the silence holds, and then again, that lovely piece of silence while Tessa is balancing on Scott and his squat. This perfect moment in the beginning where the music is drawn out and sweeping and so their movements match perfectly, I just love the ina bauer moment right on that first long violin sound, followed by Tessa’s nice deep long edge and then another sweeping movement. In terms of how much a song can be elevated by movement, VM did everything correct with Vale Triste. I say that Valse Triste is one of my favourite free dance of theirs, but I don’t think people get just how much. So, cmplpete with hyperlinks as well as gif credit, lets get into it. The stunning thing about Tessa and Scott’s skating is that nothing ever looks forced, it all seems to be placed and done to maximize their ability, the music, and the art of figure skating. There was always an impression that music meant a lot to them, and the emotional connection they felt to music was very important, the program they hated the most (Malaguena) was because they didn’t chose it themselves, and the program they had the most trouble with emotionally (The Seasons) was because they also couldn’t form a connection and tried to force something. They were ice dancing to music, not figure skating to background noise. It was obvious that this team just had a certain ability and flow that went above and beyond what had been previously seen in the sport. ![]() It’s nothing new, but Paul MacIntosh their old coach has spoken before saying there as just something natural about them and their ear for music, Tracy Wilson commented on them as juniors and early in senior as a team that really listened to their music and that they used their edges and knee bend to match the rhythm of the dance, etc. I truly believe that Tessa and Scott were (and continue to be) the most musically inclined ice dance team ever. When I think virtuosity I generally think about music, so for the purposes of this post, I am going to focus on how Virtue and Moir are masters of musicality, as I can make a separate post about their general talent and skating skills. Second of all, I have no idea just how long this has been sitting in my inbox, but better late than never, I suppose! First of all, what a concept for a waxing poetic, we love the pun, we love it all.
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