Tokyo Olympic Dressage Individual Final - Grand Prix Freestyle

Jessica von Bredow-Werndl, Isabell Werth,
and Charlotte Dujardin with their medals

Jessica von Bredow-Werndl's gold medal was a well-deserved one, with her horse really peaking in these games. The horse had been consistently light and obedient and correct, but for the Olympics, von Bredow-Werndl seemed to be able to add the extra scope in the mare's gaits to secure the pair their place at the top of the podium. The masterful Isabell Werth and extravagant Bella Rose could not top the correctness and fluidity of von Bredow-Werndl's presentation. Werth and her mare cetainly deserved their silver spot, though, as the mare just looks so secure in every movement. Charlotte Dujardin's Gio is not to that place yet, but earned her bronze with his controlled power. 

The freestyles are always fun to watch, but some of the energy of the tests was lost without the excitement of the crowd getting into the music and feeling the tension of the individual final. It was odd, too, to hear how many horses were in the first freestyle at the Olympics, with no real show preparation in the past year and a half.

 

A thrilled von Bredow-Werndl

Jessica von Bredow-Werndl maintained her trademark easy riding while keeping every step and movement with Dalera right with their music (GER - 91.732%). Right from the first step, their passage was foot-perfect to the beat as it lifted easily off the ground in each step. The style of the the music from La La Land that von Bredow-Werndl chose does not personally appeal to me, but I cannot deny that the arrangement was so well done to capture the sweep and tempo of Dalera's gaits. The piaffe pirouettes maintained the piaffe's rhythm and sit well. The first pirouette right out of walk got a little open in the frame. The twos that followed were sweeping. The balance coming out of the pirouettes showed the high degree of easy control that von Bredow-Werndl has over the mare's balance and movements. The last piaffe-passage transitions were seamless and right on the music, though they halted just ahead of their music.

Like with her background music for the Grand Prix Special, Isabell Werth has gone all in for the hits of classical and operatic music, including Beethoven's Ode to Joy to support Bella Rose (GER - 89.657%). The transitions from passage half-pass to trot half-pass were smooth in their change of bend and seamless in their rhythm. In piaffe, the hindlegs occasionally showed such high activity that the mare's croup got a little high. The twos down the centerline showed that the mare swings a little in them, jumping a little more up than forward. Unlike many other riders, Werth went boldly forward in the extended canters leading into their pirouettes, showing that she could bring the mare back into collection with little effort. After the canter, teh extended trot showed better than usual reach behind, though still little suspension. Werth finished one-handed in passage after an effortlessly springy piaffe pirouette.

Charlotte Dujardin presents Gio (GBR - 88.543%) with super straightness and suppleness, even if the balance is still improving in some movements. Dujardin was on her sweeping music, but I found the sound itself rather nondescript. In piaffe, the horse crossed a bit behind on the first centerline, though the rhythm is certainly excellent. The trot half-passes pushed strongly sideways with lots of crossing. The extended walk had very good stretch and overtrack and the first pirouette out of walk was sitting and in better salf-carriage than some of the others. In the ones on a flat serpentine, Gio jumped so cleanly up and forward in each stride. In the passage at the end of the test, Gio showed how powerfully he reaches under himself to spring forward. 

Catherine Dufour and Bohemian (DEN - 87.507%) started right into their superb dressage before showing off their seamless piaffe-passage transitions across the centerline right in front of the judges.. The first extended trot got a little hard in the contact. The horse overcollected slightly in the transition to walk. The collected walk was beautifully relaxed. They showed pirouettes after extended canters that could have been bolder followed each time with big changes that flowed well with music. They also showed a diagonal half of twos and half of ones to further show off the quality of the changes. In the last piaffe and passage, they allowed the full vocals from their music from Les Misérables to run, which was quite a risky choice.

Sabine Schut-Kery was a bit unlucky to ride so early in the freestyle after her huge score in the Grand Prix Special but she and Sanceo were still rewarded well for a beautiful ride (USA - 84.300%). Their music has a nice combination of drama and delicacy that supported the Sanceo's way of going well. From the halt, they started in top class passage into a piaffe with activity springing from the hindlegs. The changes of direction in the half-pass were perhaps not ideal, as the gave the impression that the horse was not the most supple in his lateral reach. They rode collected walk to exquisite piaffe to an extended walk that was a bit hesitant. The canter half-pass music had a good beat to support the energy the movement had, but in transitioning to pirouette, the horse momentarily broke. However, it did not affect the pirouette itself. They had a dramatic final line, with Sanceo showing his inner metronome in seamless piaffe and passage transitions in a delicate and unwavering contact.

Edward Gal (NED - 84.157) used his old music from Total U.S.'s sire Totilas for his freestyle and the same straightforward test. The judges scored this test with maybe some rosy nostalgia and a good dose sheer awe at the horse itself. While Total U.S. has his father's expression, he isn't the same compact type of horse in the frame, so the music was a little too high tempo. Gal could have also been more with his music throughout the test. In the absolutely enormous passage, the horse nodded his head slightly, not quite showing full self-carriage at that level of expression. The extended walk was huge with good stretch, but the horse showed some tension, shaking his head. The horse swapped behind into one of their double pirouettes. The twos showed huge freedom in the shoulder and flowed well. The ones were huge as well, but the horse looked a little tired behind the saddle. The final line showed just how much this stallion will offer, moving though his whole body.

Carina Cassøe Kruth and Heiline's Danciera (DEN - 83.329%) chose and arrangement of the well-known pop music including from Dirty Dancing. The contact looked more relaxed than in the Grand Prix Special and the mare looked more settled in the work. The trot half-passes showed lots of power sideways and transitioned into a big passage half-passes. The extended walk was big, but the mare showed some resistance to Cassøe Kruth picking up the reins again. The canter pirouettes had a high degree of collection while keeping a clear canter. They rode an impressive series of twos to ones on a curve (though they got a little close behind) to twos again. The mare struggled a little bit with the rhythm of the piaffe in the final pirouette, though she still sprang off her haunches.

Carl Hester rode En Vogue (GBR - 81.818%) to orchestrally arranged poppy music that included lots of transitions between canter themes and trot themes and piaffe and passage. Hester got to work right into piaffe. This movement looks like it could be really nice when the horse gets a bit more security, as En Vogue still bobbed his head in it and occasionally leaned more on his front legs, despite really lowering his haunches. The passage was consistently excellent, with En Vogue supporting his expressive front end well with spring from behind. They had an error in the curved line of ones, a place where risk didn't quite pay off. After a tiny pirouette, the second line of ones straight at C was bold and clean. The zig-zag in trot was uphill and showed good suspension in the trot, but not the most lateral reach. The ziz-zag in passage at the end of the test stayed right on rhythm through the changes of bend.

Juliette Ramel and Buriël K.H. (SWE - 81.182%) started with their powerful passage out of the halt and rode their way to a personal best freestyle score. They transitioned to passage half-pass, which I found did not show off the horse's talent quite as well as he got a little heavier on the bridle and less engaged in them. The second trot half-pass got a bit passage-y. Ramel rode a pleasing forward transition from extended trot to canter work. Their canter half-pass after a canter pirouette was more supple to the right than to the left. Ramel also showed a canter pirouette to extended canter where the horse really sprang out of collection. In the ones on the centerline, the change to the left was bigger than the change to the right. Their orchestral music was not the most memorable, but the tone that combined fluidity and drama supported the impression of the horse well. 

Steffen Peters (USA - 80.968%) always finds a fun combination of pop hits for his freestyle, and it was the same for Suppenkasper, with a version of Safety Dance supporting the canter work that began after slipping in an early piaffe. The music was well-arranged to make the beat of the gaits come through clearly, though the music itself had a bit more energy than this soft freestyle had today. Peters also has a tendency to pick some technical transitions for his freestyles and here he showed seamless canter pirouette to piaffe to extended walk. The canter pirouettes themselves had good sit and Peters controlled their rotation so perfectly. The ones swung a bit behind. Their trot half-passes showed lots of freedom in their lateral reach. The extended trots were big and scopey, but still easy off the ground. Peters boldly showed piaffe right at C several times, though frequently in pirouettes to disguise the horse's tendency to get wide in front. The final passage was right on the beat of the music.

Nanna Skogberg-Merrald (DEN - 80.893%) chose quite intense music, which was a good fit for the masculine Zack. They rode nice passage half-passes to trot half-passes, making sure to spend plenty of time showing off the quality and collection of Zack's passage. In the curved line of extended and collected walk, Zack braced a little against the bit. Skogberg-Merrald alternated canter half-passes and single pirouettes as well as double pirouettes at the end of the diagonal, clearly really wanting to show off the quality of the pirouettes where Zack can really sit and keep the activity. The tempi changes were big and powerful. The ended with an easy piaffe pirouette.

Hans Peter Minderhoud's (NED - 80.628%) orchestal pop music for Dream Boy added a nice impression of fluidity to the test and Minderhoud rode in a way that seemed a little less hectic. Minderhoud chose to include some music with subtle vocals that picked up on the Dream element of his horse's name. They started with incredibly bouncy and rhythmic piaffes before proceeding into trot work. The trot half-passes swung sideways in good balance. The canter pirouettes, following the now classic extended canter to D, were small, but lost some activity. There was an error in the twos and the ones could have shown a bit more separation in the hind legs. In the final zig-zag in passage, Dream Boy got a little above the bit and out behind, though he still sprang off the ground in good rhythm. 

Charlotte Fry chose recent Top 40 style music with a clear beat to support Everdale's energy (GBR - 80.614%). Even with the curb loose in the freestyle, the stallion did not really reach into the contact the way a horse like Sanceo does, but stayed tight in the neck. The trot half-passes looked gentler than the ones in the Special, while still showing enormous reach sideways. In extended trot, the horse could have reached more with his neck as well as his front leg. The extended walk was super again. Everdale showed some confusion or resistance at the start of the canter work, refusing to half-pass and then trotting into a subsequent pirouette. They found there place after, though, showing a tiny pirouette followed by huge two tempis. Though in the tempis, the horse could lift slightly more in front to be even better. Fry's transition near the end from canter zig-zag to piaffe was a unique one, and she pulled it off.

Therese Nilshagen (SWE - 79.721%) breezed through halt without really stopping to start her freestyle in piaffe. Her contemporary pop choices included quite a few vocals, but I thought they worked. High energy music supported Dante Weltino's super powerful and ground-covering extended trots. Nilshagen managed the piaffes delicately, allowing the stallion to come a bit open in the frame. In the transitions into them, he almost stopped each time before picking up the rhythm. The first pirouette started at working pirouette size, though it was beautifully sitting. Nilshagen rode a line of ones right down the centerline, which were huge. A line of ones after a canter pirouette got a little low in front. They ended with an enormous one-handed extended trot.  

Dorothee Schneider did not have Showtime completely with her today (GER - 79.432%), with the horse maybe a little more tired and minor errors creeping in. Right from the first centerline, Schneider showed off the horse's way of going with amazingly supple half-passes. The piaffe remained their weakness, the the horse never as secure in the rhythm as horses like Dalera and Bella Rose. The passage, though, is fluid and Showtime really lifts his front end from behind. The extended walk out of piaffe had enormous overtrack. Schneider showed high angled canter zig-zag to highlight the horse's willingness to move sideways. The subsequent pirouette was a little off balance from lack of bend. The The extended canters showed enormous reach in the strides, if not so much in the frame. They had an expensive mistake in the ones. 

Rodrigo Torres (POR - 78.943%) went with a dramatic sound with Pink Floyd to support Fogoso and it really worked. Musically, it was one of my favorites because the sound supported the movements without overwhelming them in sound, and the pair look in super harmony. They started in piaffe and passage to quieter music that really built the anticipation for the rest of the test and added instrumentation to the same music for the end of the test. The pair's lofty passage hit the beat well. The walk work stayed quite tight. The canter pirouettes to a version of Another Brick in the Wall could have had a bit more roundness and sit. Torres showed off one tempis and his final centerline one handed, showing the obedience and self-carriage of his horse.

Beatrice Ferrer-Salat (ESP - 77.532%)c hose powerfully arranged operatic music to support Elegance, who looked quite spicy today. The tension was rather high in the extended trots and the mare occasionally climbed a hair above the bit in transitions, though the movements themselves were consistently better. At times, the mare could have reached more into the frame, but she is quite young and will likely develop a bit more self-carriage. Light piano supported the easy-looking, uphill canter half-passes well. Ferrer-Salat has a little troubl maintaining the ones. Near the end, the pair showed extended trot to piaffe, pulling it off surprisingly well. But the quality of the piaffe in the piaffe pirouette into the final halt was the best, springing well off her hind end, though she still could have sat more.

Brittney Frasier-Beaulieu got to ride All In (CAN - 76.404%) in the freestyle with Adrienne Lyle withdrawing. All In gives the impression of really taking up the arena with his size and power. Frasier-Beaulieu started with a piaffe pirouette right out of the halt, making the halt itself not quite happen. She rode quite a bit of piaffe, where the horse it rhythmical, but could bring his hocks more under himself. The extended trots she showed early in the ride and as the very last movement had top power from behind. The first one tempis were ridden in a lovely uphill frame, but a couple were close behind. Their music did not offer the most powerful support for All In's movement, but the high degree of variation in the music supported the changes in movements and Frasier-Beaulieu rode her patterns with clarity and accurately to the music, making for a pleasing overall picture.

Tokyo Olympic Team Dressage Final - Grand Prix Special

Masked medalists: Olympics in Covid times

Spain, Portugal, Sweden, the Netherlands, Denmark, the United States, Great Britain, and Germany contested the team final Grand Prix Special. With every single team member scoring over 80%, there was no question that Germany deserved the gold. Their team dominated the top five, as each rider showed they could softly guide their horse through the demanding Grand Prix Special. But the surprise of the night was Sabine Schut-Kery leading the US team to a silver medal with a first-time score over 80%, supported by a solid ride from Adrienne Lyle and a personal best from Steffen Peters. For bronze, Carl Hester pulled out a top score with En Vogue, but without an 80% score from Charlotte Dujardin and Gio, they could not keep ahead of the US.

It was exciting to have the high level of competition for silver and bronze and rewarding to see the gold go to three exceptional riders from Germany.

Germany

Jessica von Bredow-Werndl & Dalera

Jessica von Bredow-Werndl didn't have a fault-free test on Dalera, but it was lovely as always and more than good enough for a German gold. In the each trot extension, Dalera moved softly and fluidly, though they could have come more under behind. Von Bredow-Werndl really pushes the mare forward from extended trot to passage, making the transitions seem easy. The passage kept and easy rhythm and had a high degree of suspension. The collected walk stayed forward, but the transition to piaffe was a little unclear. The mare springs easily between diagonal pairs in piaffe. The haunches trailed at the beginning of the first canter half-pass, but von Bredow-Werndl quickly improved it. They had an uncharacteristic error in the ones on the diagonal, but the ones on the centerline were soft and fluid. Both pirouettes had good sit, but the first one was smaller. The final extended trot had the most power and the final centerline showed off the consistent quality of their piaffe and passage.

It was funny to not have Isabell Werth and Bella Rose (83.298%) last of the day, but with her teammate in the top spot, she had to be the last of this group. She rode to what was clearly her own choice, mostly Beethoven. Bella Rose gives the impression that she barely touches the ground. The trot half-passes seemed to float sideways with plenty of crossing. The extended trots remained limited behind, but opened nicely in the frame. In passage, the mare was so lofty, but occasionally needed to come more uphill from behind. The extended walk didn't show much freedom through the back, but it was relaxed. The piaffe out of the walk was incredible, with the forward transition getting Bella Rose to truly lower her haunches. She could not achieve the same degree of sit in the second piaffe. The twos has some swing, but jumped well forward from behind; the ones were shorter. The first pirouette started quite big; the second was smaller, but did not really sit. After the canter, Bella Rose showed slightly more freedom in her body in the final extended trot. The final centerline looked effortless.

As the first riders for Germany, Dorothee Schneider (GER - 80.608%) and Showtime showed that the team was ready to take the lead. While Showtime does not lengthen his neck at all in the extended trots, each stride has so much reach. In each step of passage, Schneider asks her horse softly to think up and forward with nudges on the bit to ask him to find the contact. The passage occasionally steps more up than under behind, but is very lofty. The horse cantered into the third extended trot, which was an unfortunate error. Showtime does not show a high degree of activity in piaffe and out of collected walk, he snatched his hindlegs a bit in response to Schneider's aids. The canter half-pass right had a bit more reach to the left than to the right. The twos jump nicely forward, but the ones were not quite so fluid. Schneider rode to pick up points in the extended canter, showing that she knew she could bring her horse back for the pirouettes. Showtime got a little low in front for a few steps early in the passage, but Schneider collected it up by X for the best piaffe of the test. 

United States

Sabine Schut-Kery & Sanceo

Sabine Schut-Kery and Sanceo had a lot of weight on their shoulders with Denmark and Great Britain so close in marks, though it was lifted somewhat by a slightly weaker ride from Dufour and a good day from Peters. Not that she needed help, producing a very well-deserved personal best score to lift the US from bronze position to silver. In the trot half-pass, Sanceo really pushed up and sideways. The second extended trot was a bit cautious. In each step of passage, Schut-Kery had her horse stepping up and forward correctly into contact. The third extension was bolder. The walk work was on the tense side and the first piaffe started quite early. The piaffe itself was so correct in its rhythm and balance. In the canter half-passes, the horse reaches well in front, but is a little tighter behind the saddle. The tempis didn't have the most power from behind, but appeared clean and easy. Both pirouettes were softly controlled, but on the big side. On the final centerline, the horse kept his hindlegs so well underneath himself through the piaffe and passage.

Steffen Peters had a beautiful ride on the supple and expressive Suppenkasper (77.776%) for a personal best in the Special. This horse really swings through his body in the trot work, producing a high degree of lateral reach in the half-passes. The one down side of the Special, though, is that with the number of angles from which the judges can see the passage, it is clear that the horse gets quite wide in front to keep its balance, even as it really springs up and forward from behind. The third extended trot was absolutely enormous as well as fluid. The transition from collected walk to passage was smooth, with Peters letting the horse travel a bit forward. In the second piaffe, the horse sat more honestly with the weight on its hind legs, rather than merely closing at the base. The canter half-pass right swept sideways; the one to the right was not as supple, but still very good. The tempis were clean, but could have jumped more forward. The final centerline was expressive and soft.

Adrienne Lyle (76.109%) and Salvino scored a bit better than the Grand Prix in a test that showed off the incredible scope of this stallion's passage. Lyle knows how to start her test with a square halt. The rhythm in the trot work and passage was not consistently secure, with the horse sometimes stuggling in the transitions to find the new tempo. The freedom in front in the extended trots that Salvino has is incredible, but the horse lacks that same ability to push himself both up and forward in passage. Lyle let Salvino creep forward into the first piaffe, but he sat better in that one than the second. In the changes of bend, the passage got quite irregular. The canter work could all have shown more of a moment of suspension, though it was soft and clean. In the pirouettes, the horse lowered his haunches, though it looks like Lyle had to work to control the balance. On the final centerline in passage, Salvino showed just how high he can lift his knees.

Great Britain

Charlotte Dujardin's Gio looks so energetic in a way that makes the athleticism required for Grand Prix seem easy, though there is still room for development. Gio moved with lots of expression in front, supported by lots of energy from behind in the first extended trot, but the two after passage got a little more hurried. The passage gives the real impression of springs being compressed and released in each step, though every now and then there was a rhythm error behind. The extended walk had a correct outline, but could have shown more relaxation. Gio started piaffe very early out of walk and did not really sit in either of the first two piaffes, That being said, the transitions were well-managed. They had lovely twos, but an expensive mistake in the ones on the diagonal. The extended canter really moved forward, but needed more reach. Dujardin let the pirouettes get a little bigger to keep the activity in the canter. Dujardin kept the passage springing and together to the last halt.

Carl Hester (78.344%) guided En Vogue so softly through this test, even in moments where the horse showed some tension or insecurity. The trot half-passes had beautifully supple bend and crossing, though the one to the left was slightly more fluid. In passage, the horse takes a moment to hind his balance from collected and extended trot, but when he does his hind legs get really engaged to carry the passage forward. Hester started the first piaffe quite early. The horse still needs to take weight more genuinely behind in the movement; at the moment he lowers his croup, but still puts his weight on his front legs. There was some tension in the preparation for the twos, but they were clean. The ones were dead straight. The extended canter was conservative, perhaps to contain the horse's energy to pick up top scores for the tiny pirouettes. En Vogue's balance in the piaffe and passage was a little uncertain.

Charlotte Fry rides Everdale (76.854%) with a high degree of energy to get the maximum expression from the stallion. In the extended trot, the horse stayed short in the neck without raising and stretching his back, though the expression the stallion produced was extraordinary. In passage, Everdale could push more forward as well as up. The stallion cantered a stride in the second extended trot. The first piaffe had super rhythm and activity, but got very short in the neck. Everdale jumped together behind in the transition from passage to canter. The canter half-passes traveled easily sideways in good bend. Both lines of changes were expressive and forward. Fry got the stallion to really stride out in extended canter, but it got slightly croup-high in collection. By the final centerline, the neck was quite short and the horse couldn't bring his hind legs really underneath himself, though he still really sprang off the ground.

Denmark

Catherine Dufour and Bohemian did not have the smoothest start to their test with a wobble out of the first halt and a rather tight first extended trot, and Bohemian seemed more tense than the Grand Prix. The trot half-passes had good bend and crossed well and the passage powered up and forward. But in the extended trots down the side, the horse's tension showed. Even with a loose curb, the horse curled his lips and braced a bit. The extended walk had clear stretch and overtrack, though the nose could have come more out. The transition to the first piaffe was prompt and clean. Dufour let the second piaffe creep forward, but its spring and activity was excellent. The transition up to canter was messy and through trot. In the twos, the haunches swung a bit, but the ones on the diagonal were straighter. The extended canter was tight and cautious. The horse swapped behind at the end of the first pirouette and did not continue straight down the centerline after the second. Bohemian really lowered his croup on the final centerline in piaffe and passage, but the movements showed some tension and the horse dropped a little behind the vertical. Still, Dufour did a super job guiding the anxious Bohemian through the work.

The strength of Carina Cassøe Kruth and Heiline's Danciera (77.143%) is the rider's capacity to encourage and enable her mare to lift lightfootedly off the ground in every step of passage and every stride of extended trot, though occasionally the young horse still leans a little forward on her rider. But from the beginning of the test, the mare's tongue appeared every so slightly forward in the more forward moments of the trot work. For this reason, its rather surprising it scored almost the same as Steffen Peters' ride, even with the higher degree of expression. In the first piaffe, the mare snapped up her hindlegs instead of sitting; the second had a better balance. The springy one tempis on the diagonal had a small error behind early on and Cassøe Kruth rode eleven ones between the pirouettes. The first pirouette was sitting and tiny, while the second one got a bit bigger. The tongue appeared for a microsecond again in the final halt, just reflecting the tension the mare feels in doing the work required at this level.

Nanna Skogberg Merrald (74.201%) got the most out of the experienced Zack in this test. In the first half-pass, Merrald seemed to start in leg-yield for a few strides before establishing the bend. The extended trots are powerful, but the mouth comes quite open, distracting from the quality the horse shows. The compact Zack shines in passage, where he really pushes off the ground. The canter half-passes had good bend. The twos were excellent, as were the ones down the centerline. The extended canter showed very good ground-cover. The pirouettes were small and sitting, but the second one drifted off the centerline in the first stride. The final centerline showed more strong passage and good transitions.

Netherlands

Edward Gal benefitted from getting to show extravagant extension after extravagant extension from Total U.S. in the Special (79.894%). In passage, the horse really lifts each leg, though Gal has to really hold the young horse together and in balance with his seat and hands. The extended walk had incredible reach. Gal kept the collected walk going to G and got decent sit in the piaffe, though at his stage in development, the horse had to climb out of it. In the second piaffe, the horse snatched up its hind legs rather than sitting. The canter half-passes were super uphill. The two tempis looks quite straight and big, but the ones swung a bit and looked more labored. Like in the first piaffe, Total U.S. really sat in the first pirouette but then struggled to find a forward balance again. In the final centerline, the horse showed that with all his incredible talent, he is not quite secure in his fitness at this level, climbing a in front with the hindlegs a little behind and leaning a little on his front legs on piaffe.

Hans Peter Minderhoud showed Dream Boy (76.353%) lots of lift in the gaits, but the picture could have more a supple and easy balance and without the mouth always open. While in the extended trots, Dream Boy lifts his front end and flings his legs with less behind, he showed more potential to engage in passage, though not consistently. Dream Boy benefitted from stepping into piaffe out of walk, as it allowed him to sit more than in the second piaffe. The transition from piaffe to canter was smooth. All three lines of tempi changes were strong, really jumping uphill. The extended canter was bold, but the horse braced a bit in the collection before the change. The final centerline was springy, but the hindlegs trailed a little.

Marlies van Baalen (71.210%) really rides Go Legend from her seat, with her legs almost never touching his side, though this means to achieve passage she ends up driving him into a stronger containing hand and it would be nice to see the horse carry himself more. The trot extensions really lift in front, though the horse doesn't fully track up. The piaffe out of the collected walk took a couple steps to find its rhythm, but when it did, the horse really sat and also softened in the bridle. Go Legend's haunches really swung in the twos, though interestingly the horse still jumps well forward in each change. A couple of the ones were tight behind, both on the diagonal and on the centerline. The both pirouettes were small and maintained a good canter.

Spain

Jose Antonio Garcia Mena (73.754%) rode his reserve horse Divina Royal for the Special, since the rules allow teams to substitute for this test if needed. He presented the mare very tactfully with encouraging pats to release her tension. The passage is light off the ground, but the mare gets a little low in the bridle and open in the neck in it, with Garcia Mena having to encourage her up. The extended trots were enormously ground-covering. The mare was looking around in extended walk, so did not show the most honest stretch to the bit. Garcia Mena had a lovely collected walk to piaffe but gave just a little too much of a half halt and the mare (obediently) halted for a step before getting the message to spring into piaffe. In piaffe itself, the activity was very good. The twos were ground-covering, but the mare looked a little stressed by the effort of the ones. The pirouettes were sitting, but got slightly big. 

Beatrice Ferrer-Salat's Elegance () does not give the most supple impression, with little bend in the trot half-passes and somewhat hurried extended trots, but the picture is still harmonious. In the extensions, Ferrer-Salat held the horse together in balance, but it kept the neck shorter than it should have been. In passage, the mare really compresses in the frame to spring off the ground, though her front end could lift a little more. In piaffe, the mare started with more weight on her front legs, but Ferrer-Salat rebalanced her more on her hind end once she settled into the rhythm. The strike off into canter was uphill, but a little tense. The one-tempis were fluid. The first pirouette was small and active and sitting and the ones after were lovely, but the mare seemed to spook a little at the end of the second. The final piaffe was the best, though the transition out to passage had a double beat behind.

Severo Jurado Lopez and Fendi T were quite strong starters for the day, though the horse could show a bit better self-carriage. The trot work for this test looked slightly overridden in the rhythm, which also pushed the horse a little short in the bridle. The passage sprang well forward in each step, though was occasionally slightly unevenly engaged behind. The extended trots had good overtrack, but lacked the necessary extension of the frame. By contrast, the extended walk had good stretch. Jurado Lopex had to work quite hard to maintain the piaffe rhythm. The twos and ones were both powerful and forward. The first pirouette was excellent as were the nine one-tempis after, but the second pirouette lacked the same balance. Jurado Lopez looked like he had to work to get the final centerline, but kept it going. 

Sweden

Therese Nilshagen had a super ride on Dante Weltino (75.988%), taking some real risks their stronger movements, picking up points to make up for weaker elements, like the transitions between piaffe and passage. Dante Weltino's superb trot extensions really shine in this test. The stallion powers lightly forward by reaching way underneath himself. In passage, the right hind leg is often slightly more active. But overall the movement has a good moment of suspension and travels easily forward. Dante Weltino really anticipated the piaffe out of collected walk and Nilshagen gave the reins way forward to keep out too much tension. In the canter half-passes, the horse bends well, but does not cross over much behind. Nilshagen really rode forward boldly in the one tempis and it paid off. The extended canter showed the maximum reach in the stride and opening of the frame and still came back softly. The pirouettes got a little bit, but the horse stayed sitting.

Juliette Ramel (75.714%) looked like she had her hot gelding Buriel softer and more settled in the Special. Buriel showed a super uphill passage that pushed both forward and off the ground. The bend in the trot half-passes was limited. The extended trots powered down the long sides, again staying well uphill. The extended walk was clean, but could have showed more stretch. The piaffe out of collected walk was springy off the hind legs, but in the second, the horse struggled a little to find the same rhythm and degree of sit. Ramel struggled to get the twos started, with a little confusion in the set-up. The ones swung slightly in front, but jumped well uphill. The first pirouette was tiny and sitting but turned ever-so-slightly too quickly but really sat; the second got a little bigger. The final centerline was super energetic with seamless transitions in and out of piaffe.

Antonia Ramel (67.447%) has a hot horse to manage in Brother de Jeu and they had a slightly rough day today. In the trot-half passes, the horse stays well uphill with lots of suspension, but interestingly they don't have the same reach in front in passage. Though the horse shows lots of power in the passage and extended trots. The transitions back could have been a bit softer, as could the contact in general. Out of the collected walk, the horse was a little behind his rider's aids and reared in the first piaffe. The second was still a little on edge. The tempi changes were strong, with the ones straighter than the twos. The final line was clean, but Ramel looked frustrated after her test with having a big error for the team final.

Portugal

Rodrigo Torres's Fogoso showed quite a lot of freedom and suspension in his trot, though he did not step quite underneath himself in the trot half-passes or passage. The half-pass right was stronger than the one to the left, though both showed good bend and crossing. The extended walk was a little tense. The transition into the first piaffe was prompt and easy. While Fogoso did not really bring his hind legs underneath himself in piaffe, he still correctly sprang off of them and lifted his front end. The two tempis started beautifully uphill, but lost some of that energy towards the end of the line. The canter in the pirouettes loses some activity and the first pirouette stayed smaller than the first. The final piaffe was excellent, as were the transitions in and out.

João Miguel Torrao  makes a very nice picture with Equador, but today's test had a number of expensive mistakes. (68.298%). In extended trot, the Lusitano is very flashy in front but struggled to simultaneously bring the hind legs under. In passage, the horse really lifts his limbs to give the impression of a moment of suspension, though the horse doesn't have the same power to spring off the ground as the top warmbloods. Before the third extended trot, the horse cantered and his rider struggled to get him thinking again about trot. From collected walk, Equador sprang directly into piaffe and the transitions between piaffe and passage were consistently good. Unfortunately the horse cantered in the last line of passage, anticipating the transition way too early. At the start of the twos, the horse's energy got croup high and he started in ones. The ones showed lots of freedom in the shoulder. The pirouettes were magnificently controlled, with the horse almost hovering in levade at the highest moment of the canter.

The Grand Prix Special seemed a good test for Maria Caetano (POR) and Fenix de Tineo as the picture in the many transitions was easy and smooth, but they did not score as well as in the Grand Prix. The extended trots are not huge, but the horse stays uphill and strides out well. The trot-half passes had fluid crossing. In passage, the hindlegs could come more under, but the horse lifts himself well in front. The first piaffe traveled too much forward, but had a nice outline. In the twos, the horse swung his haunches. The diagonal line of ones was straighter, but the horse got quick and missed some changes. The pirouettes were sitting and well-controlled.

Tokyo 2020 Olympic Team Dressage, Day 2 - Grand Prix

Isabell Werth on the final centerline with Bella Rose

It's no surprise that Germany looks to be in gold position for the teams, but the individual medals later in the week might really depend on how the day goes. Isabell Werth produced a masterful, easy, accurate ride on Bella Rose for the high score of the day. But her team mate Jessica von Bredow-Werdl still held on to the top spot with her less flashy but slightly more correct ride on Dalera. Charlotte Dujardin produced a wonderful ride on Gio, but with slightly weaker piaffes and extended trots, they remain a point behind Catherine Dufour and Bohemian. The freestyle promises to be a real competition.

But before that, we have the team competition starting fresh on Tuesday. The Dutch, Danish, Americans, and Brits will all be competitive, though the American position is not looking as strong without 80%+ scores from Salvino.

As far as I understand the confusing qualification and heat system being used this Olympics, the qualifiers for the individual final will be:

1. Jessica von Bredow Werndl & Dalera
2. Isabel Werth & Bella Rose
3. Catherine Dufour & Bohemian
4. Charlotte Dujardin & Gio
5. Dorothee Schneider & Showtime
   
6. Edward Gal & Total U.S.
7. Charlotte Fry & Everdale
8. Sabine Schut-Kery & Sanceo
   
9. Therese Nilshagen & Dante Weltino
10. Carine Cassøe Krüth & Heiline's Danciera
11. Adrienne Lyle & Salvino
    
12. Juliette Ramel & Buriel K.H. 
13. Hans Peter Minderhoud & Dream Boy
14. Carl Hester & En Vogue
15. Steffen Peters & Suppenkasper
16. Nanna Skögberg Merrald & Zack
17. Rodrigo Torres & Fogoso
18. Beatrice Ferrer-Salat & Elegance
    

Group F

Isabel Werth's (GER - 82.500%) Bella Rose has so much range and lightness in her gaits, even if she is not the freest in the body and lacks some natural suspension. In the extended trots, the mares knees are almost to her nose, but her hind legs don't step into the tracks of the front. The trot half-passes were incredibly fluid with an easy change of bend. In passage, the mare was light, but could push subtly more into the bridle. The piaffe sprang way off the ground, but still doesn't really sit (despite receiving 10s). The extended walk was limited. Again in the second piaffe and passage tour, the hindlegs really need to come more under and push the contact into the bridle, even with the ease and rhyhtm of the picture. The twos were big, but not the most uphill of the day. The canter zig-zag was extremely accurately placed. In the ones, the horse is not quite straight. The canter pirouettes were tiny, but not the most sitting. The final line was easy and accurate, with more tens for the piaffe.

Charlotte Dujardin (GBR - 80.963%) and Gio are a delight to watch. The horse gives the impression of being so bright and eager. Gio was a little quick in the extended trots, but stepped correctly way underneath himself. The trot half-passes showed lots of lateral reach and freedom. Their reinback was perhaps the best of the competition. In passage, Gio is super active behind, but not always consistent in each step. In piaffe, he could carry just a bit more weight behind. The extended walk showed the nose beautifully out. Durjardin manages the rhythm of the transitions between the piaffe and passage extremely well, keeping the rhythm through the changes of balance. The extended canter was big-striding, but stayed a little short in the neck. The ones were lovely and straight and forward. Both pirouettes had lovely bend and a good canter, but could have been a bit more secure in their balance. The piaffe on the centerline crept forward to X, but the final passage was exquisite and their test ended with a real square halt.

Steffen Peters (USA - 76.196%) has the talent to get the most out of the incredible moving, but sometimes tricky Suppenkasper. The extended trots took huge steps, well matched in fron and behind. The trot half passes showsuper bend and sideways reach. The reinback was sticky. From the side, the piaffes have excellent sit, but the horse is slightly out of balance with the front legs coming in as well. The first passage could have been a bit more ground-covering. The extended walk was relaxed and clean. Both the ones and the twos could have been a bit more up in the bridle, but each change jumped well and softly forward. Like few riders, Peters really pushes for the maximum sideways travel in the canter zig-zag. The canter pirouettes were nice and uphill, though the second turned slightly quickly. The final piaffe stayed quicker and the final passage was beautifully matched in front and behind.

Brittany Frasier Beaulieu (CAN - 71.677%) All In are a combination with a lot of presence. The frame throughout the test was also consistent and correct. All In has a trot with tons of suspension, though in the half-passes the hindlegs trailed slightly. The piaffe was small with the horse not really sitting but instead leaning on his front legs. But the passage showed the quality spring that seems so natural from this horse. The two tempis were bit and took up the whole diagonal. The canter zig-zag looked slightly labored, but correct. The ones were uphill. The canter pirouettes could have had more sit, but Frasier-Beaulieu placed them very well. The final piaffe moved quite forward into almost no contact, but the passage was good. 

Joao Miguel Torrao (POR - 70.186%) and Equador had an early bobble with a step of canter out of the halt. This stallion could track more up behind in the trot work, though he shows nice reach in front. In passage, the horse picks his hindlegs more up than under, but he does drop his croup in piaffe. At the beginning of the extended walk, the horse stuck his tongue way out to the right for several strides. The passage after the walk was better collected. The twos were nice and straight and up in front, but Miguel Torrao had an error in the count. The canter zig-zag was well managed, though it didn't push massively sideways. The one tempis and first canter pirouette were highlights, and it was interesting to see a Lusitano with strengths in the canter. The final passage was much more expressive than the earlier ones and the piaffe showed the most energy.

Florian Bacher (AUT - 69.813%) piloted Fidertraum very pleasantly through the Grand Prix. . Fidertraum's flashy front leg in trot is followed by a hind leg that is quiet, but steps well underneath himself. In passage, the horse could lift himself up a little more in front. Fidertraum could have been more open in the throatlatch in extended walk. The second piaffe was more sitting and rhythmic than the first. The two tempi changes were nice and uphill. In the extended canter, the horse could have opened up more through his body. There was a miscommunication before the ones and a mistake toward the end. In the final passage, the horse supported himself best with his hindlegs.

Maxime Collard (FRA - 69.813%) rode Cupido PB with lots of energy. Collard's hands looked friendly in the test, but the horse's mouth stayed quite open from early in the ride.Through the corners, the horse showed some lack of suppleness, with the hind end fishtailing out and creating a couple irregular steps. The piaffe was active, if not super rhythmic. The horse strode out well in extended walk. But in passage the horse really lifts his body and hind legs. The twos were clean and forward, but the pair missed a couple ones. The canter pirouettes were well controlled and the horse benefited from the strength of his active hindleg.

Yessin Rahmouni (MOR - 66.599%) rode the quality stallion All At Once with a few errors, but nice tempis and passage. The stallion was flashy in the first trot extension, but got a little hurried. That tension led to a break into a canter in the second half-pass. The collected trot sometimes got interrupted in the rhythm, but in the first passage the rhythm was excellent and the horse brought his hindlegs well underneath him. The extended walk needed a more open frame. The first two piaffes were a little hesitant, but came off well, The transition to canter was a little rough. The twos were big, but the horse got quite behind the bit. There were a few strides of resistance in the canter zig-zag. The canter pirouettes could have been more sitting and controlled. The passage on the final centerline was the real highlight of the test and showed the best frame. 

Hiroyuki Kitahara's (JPN - 66.304%) Huracan 10 looked quite wide-eyed in the Olympic stadium, with perhaps some tension coming early into the quickness of the extended trots. Overall, the picture was very pleasant with Kitahara managing the tension well.  The trot half-passes were uphill and a bit more fluid. In the transition to the first passage, the horse cantered. Huracan does not have the cleanest walk, but Kitahara rode it nice and forward. The second passage was solid, but in piaffe, the horse picks his legs up behind rather than under. The twos were straight and uphill, if slightly strong. In the canter pirouettes, the horse really sat, but didn't look completely secure in his balance. The final passage was active, but a little high in the neck.

Virginia Yarur's (CHI - 66.227%) Ronaldo is a flatter mover, but reaches under himself well. Yarur often holds he hands low and wide to try to encourage her high necked horse to lower his head, but he should ideally reach more into the contact. The extended trots were correct, with nice overtrack. The trot half-passes were not the most supple, but showed a fluid trot. In piaffe, Ronaldo closes at the base, but doesn't quite sit and spring off the ground. The extended walk showed good stretch and overstep. The ones were not ground-covering, but the horse stepped nicely under in each change. The horse changed behind before the second pirouette. The final passage was soft and sprang forward.

 

Group E

Dorothee Schneider's (GER - 78.820%) Showtime looks like he has gained power since the last Olympics though Schneider still has to really work to keep him in front of the vertical. She keeps the contact super soft and really rides off her seat. His trot has always been strong, but the extended trots had extra propulsion. The half-pass left had better bend than the one to the right. The reinback was hesitant, but the steps were clean. In piaffe, the horse withdraws from the contact and doesn't really sit, even though he brings his hindlegs under. The passage, though, is lofty and fluid. The twos were expressive and uphill. The canter zig-zag was well-controlled and well-placed. In the ones, the change to the right was more uphill than the one to the left, but the whole line was clean. Unfortunately the horse lost the bend and trotted a step in the first pirouette, but the second one was very good. On the final centerline, Showtime looked a little tired and his hindlegs could have come more underneath himself. But Schneider managed the rhythm well.

Juliette Ramel's (SWE - 73.369%) and Buriël K.H.  and in their second Olympics. Buriël is a horse with lots of swing in his trot, which I really enjoy. The trot half-passes had nice suspension without getting passage-y, but limited bend. The horse stepped way under himself in the second extended trot and carried that into passage. The piaffe was lofty, but not really sitting, with a bit of a bobble in the transition in. The rhythm of the extended walk was clean, but slightly hurried, and the tension showed in a trot step in collected walk. The second passage was super and Ramel rode a super transition into a piaffe with a more lowered croup and better rhythm. The twos were huge and uphill, but the extended canter was not so bold. In the zig-zag, like in the trot half-passes, the bend was better to the left. The ones were big but got a little deep in the frame, so there was an error in them. The pirouettes were active and sitting, but drifted off the centerline. The final passage was big, but the horse's mouth came quite open.

Marlies van Baalen (NED - 71.615%)  sits very upright and uses her seat quite a lot to ask for the maximum expression from Go Legend. The trot extensions showed nice long strides. The first passage stayed quite open and van Baalen struggled to collect into piaffe, with her horse quitting for a second. The extended walk was not the scopiest, but showed good stretch. The second passage was more controlled and softer, producing a much better transition to piaffe. The two tempis took up the centerline, but needed to be a bit straighter. The extended canter was big-striding and uphill. The canter zig-zag was easy and well-balanced. There were a few missed changes in the middle of the ones. The first pirouette had a better canter than the second. The final passage took a bit to develop, but set up the best piaffe of the ride—the most in place and most sitting. 

Morgan Barbançon (FRA - 70.543%) rides Sir Donnerhall II with very quiet aids, and though she hasn't reached the heights she did with Painted Black, I find her riding more pleasing now. In determination, it looked like Barbançon slightly overrode the first extended tor and the horse broke into canter. The trot half-passes has lovely lateral reach. Barbançon rode a lovely transition from the second extended trot to passage, pushing the hindlegs forward underneath the horse. But in piaffe, she holds the horse in place and it doesn't get the cleanest rhythm. The second piaffe was more obedient, but small. The twos are so big that the horse struggles a bit with the balance and relies on his rider's hand for help. The canter zig-zag was nicely uphill. There was an tiny error behind in the ones. Both pirouettes were big, but nicely controlled. The final passage was nicely elevated in front, but the hindlegs trailed slightly. 

Nicholas Wagner Ehlinger (LUX - 70.512%) rode the compact but expressive Quater Back Junior in a clean test that showed the horse in a very friendly way. The extended trots showed ground cover and shoulder freedom, but the hind legs trailed slightly. The first piaffe was small, but regular. The extended walk was big, but Wagner Ehlinger slightly overrode it and the horse took a tiny step of trot. The passage after the collected walk was light and easy, but like in extended walk, Quater Back Junior could bring his hind legs more under himself. The extended canter showed nice big strides. The ones looked easy and light and uphill. The canter pirouettes could have been smaller, but Wagner Ehlinger rode them with a super sitting canter. The final piaffe came above the bit, but was otherwise the best.

Domien Michiels' (BEL - 70.202%) Intermezzo van het Meerda is a relatively flat mover, but Michiels does a nice job asking him to stride out and forward. The reinback was obedient. The horse steps way underneath himself in passage, but doesn't look totally secure carrying himself in the movement. The extended walk had very good stretch and overtrack. The transition into the second piaffe was good and the horse lowered his croup correctly for the movement, but then struggled to lift his weight back up into passage. The ones were clean, if not the most uphill in each change. Both pirouettes rotated a little quickly at the end as the horse couldn't maintain the self-carriage he offered. The last piaffe was small and the horse leapt a bit out, but the passage after was stronger.

Estelle Wettstein (SUI - 67.748%) has a mare with a real engine behind in West Side Story . The horse really reached well underneath herself in extended trot. The quality of the trot in the half-passes was excellent, though the horse didn't have the most lateral freedom. The passage bounced forward from behind, but tended to get slightly croup-high. Wettstein rode for the most out of the extended walk, but it took a moment to settle. The rider had to half-halt quite hard to try to bring the horse back for the second piaffe, which still traveled quite forward. There was an error in the middle of the ones. In the pirouettes, the horse came quite uphill, but in the first she turned a bit around her middle and the second got slightly big. The piaffe wasn't quite clear still at X, but the final passage was beautifully expressive.

Shingo Hayashi (JPN - 65.714%) rides Scolari 4 in a nice uphill and forward way, though the horse is not the most supple-looking. The extended trots could have a bit more engagement, but had lots of power. The extended walk had a nice rhythm, but limited stretch. In passage, the horse could carry with his hindlegs a bit more underneath him, but pushes himself well off the ground. The piaffe was small. The twos didn't have a clean start, but finished well. The balance in the changes of direction in the zig-zag could have been better. The ones were looking super until the end. The first pirouette was small, but a little stuck, whereas the second was bigger with a better canter. The final piaffe had the best rhythm, but the horse sadly tripped into the final halt. The mistakes in the tempis were a real shame, because if they had been clean, they could have been real highlights.

Martha del Valle Quirarte's (MEX - 64.876%)  Beduino Lam looks like the smaller, broader Iberian horse that was more common 20 years ago, but has a nice modern reach in his trot. The horse braced against his rider's contact in the fluid extended trots. The first passage was limited, but the horse sat well into the piaffe. The extended walk needed to stride a little better into the bridle. The horse cantered a step out of the good second piaffe, struggling with the power needed to step up into passage and they stuggled with the transition to canter. In the two tempis, the change to the left had more scope, but the line as a whole was nice. The ones didn't cover much ground, but made a nice picture. The canter pirouettes were tiny and sitting, but needed to give a bit more of a forward-feeling impression. Del Valle Quirarte struggled a little to find the rhythm of the final passage, but once she did, the quality of the final line was by far the best. 

Kelly Layne (AUS - 58.354%) has and incrdible mover with Samhitas, a horse with a high degree of freedom in the back and shoulder. The first extended trot was huge without getting rushed. The trot half-pass right was scopey in the trot, but not supple in the bend; the one to the left was better. In the first passage, the hind legs escaped out behind him, so Layne couldn't collect for the piaffe and the horse reared and did not really demonstrate the movement. Layne tried to be delicate with the second piaffe, but the horse reared again and his resistance to step up into the contact showed again in a hesitant transition up into canter. The canter work was clean except for a change behind in the second pirouette, but the horse got rather low and open in the frame, with Layne hesitating to drive him into contact and face resistance. The final passage to X was top class and the piaffe went off with only a step of walk coming out. 

 

Group D

Carina Cassøe Krüth (DEN - 76.677%) had a clean test that showed off the quality of her Heiline's Danciera. The trot extensions that started their test showed reach and power. The bend and quality of the trot in the half-passes was good. In the reinback and after, unfortunately, the mare got a little hard in the mouth and lowered her tongue. By the first piaffe, however, the connection recovered. The passage springs forward from behind. In piaffe, the frame is good, but mare travels a little too much forward. The twos were light and easy, if not super scopey. The canter in the zig-zag got slightly hurried. The canter pirouettes were a little large, but well-controlled and sitting with a quality canter rhythm. The long line of passage on the final centerline allowed Cassøe Krüth to show off the mare's expression. 

Adrienne Lyle (USA - 74.876%) and Salvino divided the judges quite starkly. To me, the test did not seem that far from what she has shown previously, so perhaps the judges have reevaluated the pair somewhat. She started her test with a dead straight centerline. The first trot extension showed a lot of freedom in the shoulder, but looked a little uneven behind. The trot in the half-passes got a little pony-ish, but the bend was supple. In passage, Salvino is incredibly uphill, but he doesn't really push forward as much as snatch his legs up. The extended walk showed super stretch and relaxation and the collected walk was clear and relaxed as well. The rhythm of the second piaffe was excellent and Salvino really lifts his legs in it, like in passage, though he could lower his group slightly more. The twos were big and supple. The extended canter was held back and the zig-zag a little hesitant. The ones were clean, but should be straighter. Salvino really lowered his croup in the pirouettes, but the rotation of the first one could have been a bit more controlled. The final centerline showed incredible lift in front, but slight irregularity in the passage.

Christian Schumach (AUS - 70.900%) had a very good, even if not mistake free, ride on Te Quiero . The extended trots were flashy in front, but got slightly quick behind the saddle. Like many of the mid-scoring combinations, the expression of the collected trot is not fully maintained in the half-passes. But it translated to lots of action in the piaffe and passage, which was well supported by activity behind. Schumach rode the transitions between passage and piaffe well. One of the two tempis was a stride late. The ones were clean and expressive, but could have been even better if they had stayed a bit more uphill. The canter pirouettes were big, but had good activity in the canter. The final centerline deserved big scores (here, I missed the live scoring to see if Schumach got the kinds of marks a more famous rider would). The passage was huge and easy and the final piaffe showed good activity and the best sit.

Laurence Roos' (BEL - 70.699%)  Fil Rouge has good power behind, though he doesn't step way under himself. Roos rode the trot half-passes in excellent bend and with lots of power sideways. The passage and piaffe were springy, though not surprisingly given the horse's general outline, he did not really bring his hindlegs underneath himself in piaffe. Still, the rhythm was, outside of a tiny misstep, clear. The collected walk was rather tense. The extended canter was incredible ground covering, but Fild Rouge should technically open up his frame more. The ones were very good and the pirouettes nicely controlled. The final centerline was expressive, but could have shown a rounder frame.

Simone Pearce (AUS - 68.494%) had a few too many little bobbles with the impressive stallion Destano. The stallion strides way out in extended trot, but gets very slightly out behind. The trot half-passes could have been a tiny bit more fluid, but had supple bend and super sideways reach. In the transition between the open passage and the sitting piaffe, Pearce had to apply the breaks a bit. The extended walk was diligent and enormous. The transition from collected walk to passage was not quite clean. The twos were huge, but Pearce had an error in her count. But she rode for it in the extended canter to pick points back up. In the canter zig-zag, the horse fought the contact a little after the changes of bend. The pirouettes had incredible sit, but it made it tricky for Pearce to steer him out of them. The final passage got quite open in the frame and a little trot like, but it looked like it was the right choice to keep the stallion going. 

Heike Holstein (IRL - 68.432%) was the lucky Irish rider to get an individual place with Sambuca after their team was withdrawn. The first extended trot powered across the arena from behind, but could have been a bit more uphill. The first passage was lofty and easy, but could have been a bit more collected. It improved after the piaffe and after the collected walk. The piaffes themselves had a clean two-beat, but should have sat more. In the twos, the change to the right had more freedom than the change to the left. The extended canter was bold and well-balanced back before the change. The pirouettes did not look easy for Sambuca, but Holstein tactfully kept the activity of the canter. The final line of piaffe and passage was the best. Holstein looked thrilled to have put forward a clean test that showed her horse well.

Severo Jurado Lopez (ESP - 68.370%) has a horse with lots of suspension in the trot in Fendi T, though the horse seems to still need to develop strength and security at the top level since this suspension gets lost somewhat in the trot extensions. Jurado Lopez ride quite strongly with his seat to get the expression passage and piaffe, which means he ends up with a strong horse to hold in the hand. The horse could still develop better self-carriage. Both line of tempis showed foward, fluid changes.The first canter pirouette had excellent activity and balance, but in the second, Fendi struggled to maintain the high level of collection he offered and swapped behind in the last step. The last passage was the lightest in the bridle, but the horse hesitated into the piaffe at X.

Lindsay Kellock (CAN - 65.404%) has an impressive mover in Sebastien, but some tension made for a number of minor errors. The extended trots looked slightly unevenly engaged behind. Kellock had an break in the trot in the first half-pass. The first piaffe was small but the passage lifted way off the ground. The extended walk has nice natural overstep, though the horse was not completely relaxed in the frame. The twos had a minor error behind. The changes of bend in the canter zig-zag were balanced and obedient—the movement was a real highlight in the test. The ones were clean and uphill. On the final centerline, the passage was the best, with the horse lifting himself off his hind legs.

Tatiana Kosterina's (ROC - 63.866%) Diavolessa has a lot of reach in her stride, but her rider could be a bit more independent with her seat and hand to allow more from the mare.Kosterina got lots of crossing in the trot half-passes, though the bend could have been more supple. The mare is springy in piaffe and passage, but loses a little roundness in the frame. The twos were good but in the ones the mare couldn't quite keep her rhythm and missed one. The last 20 meters of passage powered forward. Overall, the test was diligent, but not consistently correct in the frame.

Caroline Chew (SGP - Elim.) had a bit of a rough start on Tribiani, with a funny step in the trot extension leading to a break into canter. But she recovered well. Tribiani could have pushed forward a bit more honestly into the bridle in passage, but the piaffe was light-footed and rhythmic. After the two tempis, Chew was rung out for blood in the mouth. Chew's riding was not rough, so its quite possible the horse bit his lip when Chew tried to bring him back after his stumble.

Tokyo 2020 Olympic Team Dressage, Day 1 - Grand Prix

Jessica von Bredow-Werndl & Dalera

The choice of a group format of 'heats' for the Olympics doesn't obviously make sense in a sport where each ride is given a numeric score, but I did enjoy not having all the well-known names bundled on the second day. The top two from each group are qualified for the individual finals and the top eight teams are qualified for the medal competition.

Three of the highest scores of the day really rewarded the harmoniousness of the horse rider combinations: Jessica von Bredow-Werndl and Dalera, Catherine Dufour and Bohemian, Sabine Schut-Kery and Sanceo. One place where this communication really shows is in the transitions between piaffe and passage—these three kept the horses in such balance that they all easily kept their rhythm. Total U.S. looked stronger and more secure in the Grand Prix than on previous outings, earning the third highest score of the day. 

There was the odd combination that I thought deserved more reward for the pleasantness of the picture in each movement. But it is hard to know sometimes how the scores will shake out from movement to movement. Among the lower scores, riders looked like they might be a little ring-rusty due to Covid circumstances, or just inexperienced with their horse in a show environment. Quite a few riders scored lower than they might at a normal CDI, and it was a shame they didn't get to peak at the Olympics.

 

Group C

Jessica von Bredow-Werndl (GER) started her test with Dalera with perhaps the straightest centerline of the day. The trot extensions covered ground with lots of power from behind. The trot half-passes kept a good trot rhythm. The reinback showed clear and relaxed diagonal steps. Dalera does not show much in front in passage, but the engagement from behind is excellent. The extended walk showed good relaxation in the back and lots of overstep. The second piaffe had a step that almost went backward, but von Bredow-Werndl corrected without even slightly interrupting the rhythm of the movement. The haunches could have come over a bit more honestly in the canter zig-zag. The pirouettes each started big before being collected in. Dalera's easy rhythm and lightness in the bridle really shone on the final line. They certainly delivered today.

Sabine Schut-Kery (USA - 78.416%) has come a long way from performance riding to presenting her stallion Sanceo at the games. The  The trot half-passes had a very easy bend and nice reach sideways, though the trot could be a hair more fluid in them. The first piaffe had incredible sit and still sprang off the ground, and in passage Sanceo really propels himself forward from behind. The extended walk had good overtrack, but took a bit to develop. The two lines of tempis were not big-striding, but were clean. The first canter pirouette was tiny, but the second got rather big, as Sanceo couldn't maintain the level of sit he offered. The final piaffe and passage sprang off the ground, with no change in rhythm on the whole line.

Hans Peter Minderhoud (NED - 76.817%) rides Dream Boy in his usual forward and high-energy way. The horse kept his mouth quite obviously open from the start of the test, which marred the picture of the nice uphill frame. In piaffe, the horse could drop his croup more, rather than just picking up his hocks, and Minderoud has to work quite hard to get it. The passage is bouncy, but could spring more forward. The extended canter was huge and Minderhoud brought it easily back for the change. Minderhoud also really pushed sideways in the zig-zag and pulled it off in good balance. The ones jumped uphill and off the ground in every stride, but the collection of the pirouettes was clearly a little harder for the stallion. Th final centerline showed good power an rhythm, though the frame could have been a hair more collected.

Carl Hester (GBR - 75.497%) and En Vogue got a bit of a shower starting for their ride. Hester's seat never ceases to impress. He is so soft with his hands and he sits in a light way that allows the horses to fully move beneath him. The trot extensions were uphill and rhythmical, if not the most ground-covering. The first piaffe was a little resistant, but Hester managed to avoid any major mistake. En Vogue picks his hind legs up so much in the movement, that he struggles to find his balance. The second piaffe was more secure. There was an error at the beginning of the twos, perhaps from a spook in the corner. The extended canter showed En Vogue opening up his back to stride out, but the horse changed early behind at the end. The ones were dead straight and perfectly rhythmical. The pirouettes were beautifully controlled. En Vogue bobbed his head slightly in the last piaffe, but the passage was really engaged. On overall impression and basic correctness, this pair could easily have scored higher, but the developing balance in the piaffe and minor mistakes probably limited them today.

Rodrigo Torres (POR - 72.624%) Fogoso has a lovely expressive front leg that was still nicely supported behind, though the canter and walk work got a bit tighter. The trot-half-passes has beautiful bend and lateral swing. The passage could cover a bit more ground. The walk work needed to show more relaxation in the body. The piaffes were super rhythmical, but the hindlegs could come a hair more under the horse's body. The extended canter was strong until a spook in the last few strides. The ones were clean, but could have been a bit more uphill and produced with slightly more subtle aids. The pirouettes were well controlled and small. The final passage was the best and the transitions in and out of piaffe were effortless. 

Jose Antonio Garcia Mena's (ESP - 69.146%) Sorento is unusual among the horses here for having a rather quiet front leg. But he makes up for it with lots of power from behind. While Sorento doesn't look the most supple in his body, Garcia Mena rode him in a lovely bend in the half-passes and got super crossing. The passage had good engagement, but in piaffe, the horse left his hindlegs a little behind him. The second piaffe was a little better and the rhythm was solid. Garcia Mena rode a really bold zig-zag, but it caught up with him with the horse losing his balance and breaking in the last half-pass. The ones were ground-covering and soft. The pirouettes maintained a good canter, but got rather big. The frame and contact in the final expressive passage was beautiful.

In his test, Alexadre Ayache (FRA - 68.929%) kept Zo What nice and up in the frame, but could have done so with more subtle half-halts. The passage steps up well in front, but could have more support from a more engaged hindleg. The extended walk was slightly hurried. The piaffes took a moment to find their rhythm and balance, but the horse brought his hindlegs correctly underneath him in the later steps. Both lines of tempis were clean and clear in rhythm, if not the most expressive. In the pirouettes, Zo What stepped ever so slightly out in a a stride or two. The passage to X was excellent and set up their best piaffe of the test

Larissa Paulius' (BEL - 67.251%) Flambeau has a lovely open stride, but Paulius struggled in the test a bit with the steadiness of the contact. And the rain started coming down quite heavily for her test. The extended trots could have covered a bit more ground, but Paulius did well to stop them getting hurried. The horse was a little resistant to the reinback, though it showed good diagonal pairs. The passage was expressive and the piaffe sprang off the ground with the horse sitting well. The rhythm of the extended walk was excellent, though the horse could have stretched more honestly. The second piaffe was even better than the first. Paulius made a big mistake with an insufficient half-half from passage to canter. The zig-zag needed a bit more controlled changes of direction, showing mabe the lack of experience this combination has. Though the horse climbed just slightly in piaffe, the overall final centerline was top class. 

Henri Ruoste (FIN - 64.674%) had an unfortunate start with Kontestro spooking and spinning at the end of the first extended trot. The arena anxiety his horse had meant that Ruoste had to do a lot to hold on. The horse almost reared in the first piaffe, but the rider managed it well, settling the horse into some rhythm for the passage. While Kontestro was still running through the bridle in the second piaffe and passage, we got to see the potential in the piaffe, with the horse springing electically and powerfully off the ground. The one tempis were big and expressive. In the pirouettes, Kontestro showed his capability to sit, though Ruoste definitely had to work to keep him together. The final centerline showed the horse's strength up through the piaffe, but he cantered after into the halt at the end. 

Alexandra Maksakova's (RUS - 63.898%) horse Bojengels is quite a big bodied horse with a big neck, which he occasionally uses a bit against his rider, pulling down in the contact. The bend in the trot half-passes could have been more obedient, as could the reinback. The passage was pleasently lofty, but the piaffe could have shown more of an impression of the desire to move forward. The twos had super freedom in the shoulder and spanned the diagonal. The extended canter was bold without getting hurried. There was an error in the last change in the zig-zag and at the beginning of the ones. The canter pirouettes were controlled, but should have maintained more activity. The horse ran through the bridle when asked to piaffe at X, leading the movement to happen several meters late. But the passage was strong.

 

Group B

Catherine Dufour (DEN - 81.056%) started her test on Bohemian with a salute with a fourish, showing her horse's willingness to stand and then spring into action. The whole test looked smooth and easy and Dufour looked thrilled after the final halt. The rhythm of the trot half-pass right was a little slow, but the bend and crossing each direction was very good. The reinback could have been a bit more willing. While Bohemian could sit more in piaffe, the rhythm from passage to piaffe and out was unwavering. The transition from collected walk to piaffe looked effortless and the second piaffe-passage tour was as good as the first. Dufour rides the twos forward, but they could have been a hair more uphill. Bohemian swung his haunches slightly in the changes of direction in the zig-zag, but it still showed that he could really obediently move laterally each way. Th canter pirouettes were small and active, but could have been slightly more sitting. The passage and piaffe on the final centerline were lovely, as was the frame and contact into the piaffe.

This group started strong with Edward Gal (NED - 78.49%) on the young Total U.S. who looked a little spooky and disobedient in the last strides before entering the arena, but held it together for the test. The trot extensions have huge reach in front, but could cover a hair more ground. The trot half-passes were very uphill. The passage was huge after a double-beat in the first couple steps. The horse really closes in front in the piaffe, but doesn't really sit and instead picks his hindlegs straight up. Still, the rhythm is good. The extended walk was huge. Gal seemed to have the horse's head tactfully turned away from the judges booths in collected walk. The twos were uphill and controlled in their balance. The bend and lateral movement in the half-passes could have been a bit more obedient. The canter pirouettes were really sitting, but could have had a hair more activity in the canter. While the piaffe on the final centerline was quite tense with Gal really holding the horse in place, the passage was really impressively powerful and ground-covering.

Beatrice Ferrer-Salat (ESP - 72.096%) rode the springy Elegance very tactfully, particularly since the horse looked rather tense in the stadium. The trot work looked a little tight in the back, giving Ferrer-Salat a bit of a jarring ride in the extensions and showing limited bend in the half-passes. However, the passage showed excellent engagement. The horse does not have the most expressive piaffe, but Ferrer-Salat manages the rhythm beautifully. The extended walk was a bit hampered by tension. The horse swapped behind in the early collected canter, again from tension. There was an error in the twos. In the zig-zag, the half-passes did not look equally obedient in each direction. The pirouettes were tiny and controlled until the last step of the second pirouette where the horse got strong and changed behind. The final centerline was pleasing and polished.

Maria Caetano (POR - 70.311%) and Fenix de Tineo started with a somewhat limited extended trot, but then showed some of the most impressive trot halfpasses of the day, with big and easy reach and bend. The piaffe was nicely sitting, but could have had a slightly clearer rhythm. The transition out into passage could also be easier. The canter in the twos was quite hurried and there was an error in the change at the end of that line and after the extended canter. The ones developed more and more swing behind across the line. While the early canter work was tricky, the canter pirouettes were tiny and showed incredible sit. The rhythm of the piaffe and passage on the final centerline was very good, though the hind legs escaped out a little in the last few steps.

Inessa Merkulova (RUS - 69.457%) returned to Tokyo with the popular and talented Mister X. The test started a little rough with some irregularity in the first extended trot—which could be a highlight—turning into a break into canter. In reinback, the horse shows some resistance to the bridle, opening his mouth and droppin his tongue, and unfortunately the somewhat hard contact mars some of the really nice elements of the test. The piaffe remained incredible. Mister X bring his croup down and lifts himself up in front in impeccable rhythm. The twos could have been more uphill, but covered the whole diagonal. The ones were not totally straight, but bold and clean. Like in piaffe, Mister X can really sit and keep carrying with energy in the pirouettes. The final line of passage was extremely lofty but could have been a been softer in the bridle and covered more ground. Merkulova finished her ride giving her horse a huge hug after her salute. 

Antonia Ramel's (SWE - 68.540%) Brother de Jeu is very light off the ground. The trot extensions had lots of power, though not the most reach. The bend in the trot half-pass left was softer than to the right. The collected walk was soft with a clear rhythm and the transition to passage easy. The horse lept forward in resistance, however, in the second piaffe. The twos showed lots of freedom of movement, but swung slightly behind. The ones that worked looked easy, but Ramel had an early mistance in them. The second pirouette was tighter and more balanced than the second. They ended on a clean and polished line of piaffe and passage.

Chris von Martels (CAN - 68.059%) has a horse with a lot of action in his gelding Eclips. In the trot half-passes, the hind legs trailed a little. The reinback showed clean diagonal steps. The piaffe is one of the highlights for this pair, with the horse bringing his hindlegs nicely underneath himself in good rhythm, while the passage ranged from beautifully expressive to slightly hectic. In a few steps in the canter movements, the strides got very close behind, showing some tension. The final centerline was looking good until an expensive stride of canter right before the halt.

Francesco Zaza (ITA - 66.941%) presented Wispering Romance very nicely, making for a harmonious picture. The mare is a dainty mover, and Zaza got the most out of her with soft extended trots and a light and springy passage. The piaffe showed good sit and stayed nicely rhythmical. They had a couple errors in the twos  and the extended canter could have had a bit more scope. The ones were a bit quick, but clean.The final centerline was clean and expressive. Zaza looked rightly thrilled with his test, and I thought the pleasing picture could have been more rewarded.

Dina Ellerman (EST - 65.435%) looked beautifully turned out in her country's blue and white on Donna Anna. The pair started on a softly ground-covering, if not super uphill, extended trot. The mare offered some resistance to the bend in the trot half-passes and looked a little hesitant to come back into the bit leading into the first passage. The passage itself, though, was round and springy and engaged. The transition from collected walk to passage could have been prompter. The piaffe crept forward quite a bit, but had a nice balance and rhythm. The extended canter was lovely until a spook that led the mare to swap early in front. The ones were obedient, even if not big. The first pirouette got quite big and the mare changed behind for a step, but the second one was better.

 

Group A

Charlotte Fry's (GBR - 77.096%) Everdale is a very flashy mover and Fry manages him well. The frame is occasionally a little short in the neck, but the horse stays quite free in the back. The trot half-passes had huge reach. In passage, Everdale got a little croup-high with all his power behind and piaffe he needs more sit. The rhythm of the collected walk could have been cleaner. The twos and ones were huge and the extended canter boldly ridden. The rhythm of the canter pirouettes was good, though they got slightly big and could have been more honestly sitting. Fry had a bit of a challenge on the final centerline with the horse looking ready to finish, but she kept the expression to the end.

Therese Nilshagen (SWE - 75.140%) rode her trot tour on Dante Weltino with huge ground-covering extensions and reach in the half-passes. The stallion's engagement in the passage is very good, but the piaffe is rather small and requires some effort from Nilshagen. The twos were big, but not one hundred percent straight. The zig-zag looked impressively effortless with the horse really moving laterally across the centerline. The pirouettes had incredible sit. The frame was a little too open on the final centerline, but that was a small flaw in the beautifully ridden line. It was interesting to me that this test scored a couple percent lower than Charlotte Fry's test. It did not have the extravagent expression, but in a number of movements was more correct with his use of his hind end.

Nanna Skogberg Merrald's (DEN - 73.168%) Grand Prix pro Zack shows huge amounts of power in the trot work and passage, though in piaffe the horse doesn't quite find its balance and rhythm because Merrald struggles a little to bring his hindlegs underneath him. The twos were huge, but Skogbeg Merrald had an error in them. Their extended canter ended a bit early. The ones were very uphill and the pirouettes were really sitting and controlled.

 Yvonne Losos de Muñiz (DOM - 70.869%) has a quite light-footed horse in Aquamarijn. The trot got slightly hurried in the half-passes, but the pair had a very obedient reinback after. Interestingly, the passage for this horse seems to improve after the piaffe—the piaffe seems to help him bring his hindlegs under and he showed more power after. They has a small error behind in the ones. The horse looked quite strong on the final centerline which made for a powerful passage, but a piaffe that crept a ways forward. Overall, the pair showed one of the more polished tests of the early part of the games.

João Victor Marcari Oliva (BRA - 70.419%) presented his Lusitano Equador with a lovely fluid trot work with lots of swing. The piaffe could sit a little more, but has super rhythm and spring. In the canter work, the horse showed some limited power behind, resulting in a little bit of swing in the one tempis and larger pirouettes. But the overall picture was lovely and soft.

Mary Hanna (AUS - 67.981%) had to use her depth of Olympic and equestrian experience to manage her mare Calanta's strengths and limitations through the test. The mare has incredible activity in her hind leg, but gets a bit tight in her back, resulting in some tension in the contact as well. The passage could cover more ground, but had good freedom in the shoulder. The extended walk showed no overtrack. There were errors in the twos and ones. The final centerline showed their strongest piaffe and passage. 

Inna Logutenkova (UKR - 66.118%)) and Fleraro had a bit of a weak start with a quite open frame and no bend in the first half pass. The passage is one of the horse's stronger movements, as he really lifts himself up in front, though he could come more under behind. The twos were huge and ground-covering. The pirouettes lots some energy behind, but stayed small. Again at the end of the test, Logutenkova tried to stay soft with her hands to encourage energy in the passage, but lost the collection in the frame, which would be quite apparent to the judges from the sides.

Dong Seon Kim (KOR - 63.447%) and Belstaff didn't have the ideal start to their test with a rather crooked halt, but proceeded into a smooth and pleasant trot tour. Sadly, the horse got a little sticky and trotted in the ones. Belstaff doesn't look like the hottest horse to the aids, but Kim manages him well except that he occasionally gets croup high instead of honestly pushing under himself into the bridle. Amusingly for me, the background music for his pleasing walk work seemed to be a version of Angelo Badalamenti's famous music for the show Twin Peaks—not a sound I associate with the dressage ring!

Kazuki Sano's (JPN - 62.531%) Ludwig der Sonnenkonig has a lot of loft in his trot work and passage, but today the horse's tension caused some irregularity to creep in. The extended walk could have been more relaxed in the back, but showed good overtrack. The two tempis swung quite a bit behind. Sano rode the canter zig-zag in good balance and the ones after were straighter. Unfortunately, the horse did not keep an honest canter behind in either pirouette, resulting in a couple expensive errors.

U.S. Dressage Olympic Observation Event - Grand Prix Special

There was a slight shuffle in the top three in tonight's Grand Prix Special, where Suppenkasper really shines, but the choice for the team is looking pretty secure now. The questions now, I think, are whether Adrienne Lyle's massive scores will stand and how she'll compare against Werth or Werndl or Dujardin.

Adrienne Lyle & Salvino

Adrienne Lyle and Salvino did not have the cleanest start down the centerline and up to the first extended trot, but it was still rewarded highly. The power of the extended trots was better after the passage, and the passage itself has such a moment of suspension even if the horse does not push forward to the same degree as, say, Candescent. The third extended trot had lots of reach and engagement. The stretch in the extended was was super, even if the horse tilted his head ever so slightly. Lyle let the piaffe creep forward out of collected walk before holding it in place and really asking her horse to sit. Salvino did not sit quite as well in the second piaffe, though it was still among the best of the day. The canter half-passes could show more expression in the gait. The twos were big and smooth, while the ones would be even better with a hair more power from behind. Salvino got a little deep in the first canter pirouette and the loss of connection caused a break to trot before the ones. The second pirouette had an excellent balance. The piaffe on the final centerline could have been a bit quicker, but the horse earns high score for his ability to come so uphill. Lyle showed an incredible talent for softly managing every moment of the test to help her impressive horse show off his best, finishing with 81.830% (a couple points behind the top 3 at the recent German Championships and a little lower than her Grand Prix score).

 

The special is a great test for Steffen Peters' Suppenkasper with all the extended trots, where the horse can show off its level of elasticity. Their 79.532% was a couple points higher than their Grand Prix. In the passage after the extensions, the horse could push a little more forward in each step and all the angles from which the judges see the passage show that the horse gets wide in front. Like in the Grand Prix, the trot half-passes were spectacular. The extended walk had huge overtrack. Suppenkasper took a big step into the first piaffe, but then really sat in place and sprang off diagonal pairs. Likewise in the canter half-pass, the horse really lowers its croup to push sideways. The twos were uphill, though Peters seemed to have to really ride them forward. Peters showed his experience in really riding out in the extended canter and easily managing a balanced change after. The pirouettes were perhaps the best of the class. Like in the Grand Prix, the final centerline showed the judges at the end of the arena the degree to which the horse sways, even if the rhythm is very good.

 

Sanceo is very light on his feet and Sabine Schut-Kery kept him in a lovely frame at every moment of her test, resulting in a well-earned 78.298%. What he lacks in supple power, he makes up for with giving the impression of ease. Schut-Kery gets him to bend and cross well in the trot half-passes. In both passage and extended trot, he could step more under himself. The transitions between them, though, are so smooth. The extended walk was well ridden into the contact. The transition into piaffe from collected walk was superb and the piaffe itself showed an incredible degree of sit. The canter in the half-passes was small, but like in trot, the horse showed the ability to reach well sideways. Schut-Kery had an error late in the twos. The transition from extended canter to collected canter for the change was very well ridden. The canter pirouettes could have been a little smaller, but had Sanceo’s ability to sit made up for it. The rhythm of every step of the final centerline was spot-on.

 

It was interesting to watch Nick Wagman’s horse follow Suppenkasper because Don John is such a different type of mover. While Supperkasper is elastic, Don John is short-backed and bright and springy. The passage is lofty, but the hindlegs trail slightly at times. The extended walk was clean, but could have shown more stretch in the frame. The first piaffe started quite forward and when Wagman brought it back, it could have had a little more sit. The second piaffe was lower in the croup, with the same good rhythm of the first. The canter half-passes were not the most supple but were nicely uphill. The tempi changes covered ground, though the horse could jump a bit more through his body. The extended canter showed the freedom in the back that the changes didn’t quite have. The second pirouette was beautifully sitting. The final centerline was lofty and expressive. They finished on 76.043%.

 

Olivia Lagoy-Weltz rode Rassings Lonoir in such a positive forward way through this Special (75.170%). While the horse gets slow behind in passage, Lagoy-Weltz makes up for it by riding for big steps forward, and the horse then lifts his shoulder well. The first piaffe took a moment to develop and was a hair above the bit; the second one was better. Lonoir took really big, powerful strides sideways in the canter half-passes. The twos were also big and uphill, while the ones could have been straighter. The extended canter was somewhat lackluster. The final centerline was lovely and soft.

 

Alice Tarjan’s Candescent (73.404%) has such an extravagant front leg, that the hind leg could not always match and support its reach in the trot work. However, Candescent really engaged and sprang easily off the ground in passage, even if the rhythm is not 100% consistent. Tarjan could get a little more stretch to the contact in the extended walk. Candescent closed at the base and kept a good rhythm in piaffe; it was correct even if it wasn’t as extravagant as the passage. The mare could have stayed a bit more uphill in the canter half-pass right. The twos were solid, but the ones were not as straight as they should be. The canter got a little tight and small in the pirouettes. Tarjan had an unfortunate break to canter in the final extended trot, but the final centerline was beautiful, showing how genuinely talented Candescent is in passage and piaffe.

 

Ben Ebeling and Illuster van de Kampert turned up the power level a bit in the Special (73.319%). The passage covered more ground and trot extensions had more engagement, though there were bobbles in the two after the passage. While the horse does not have the most extravagant walk, Ebeling really asked him to stretch out to the bit. The piaffes after the walk were small, but clear. The second transition into piaffe could have been cleaner, however. The canter half-passes had super bend and self-carriage. The twos were very good and Ebeling really rode the ones forward, even if the horse got ever so slightly high behind. The pirouettes needed a bit better preparation. The passage on the final centerline was the best, as the horse kept his hind legs more underneath himself.

 

One of the challenges Adrienne Lyle had with Duval both this evening (72.426%) and in the Grand Prix was keeping that consistent rhythm in the trot work. In the collected trot on the short side, the horse showed lots of suspension, but he got a little bit flatter and quicker in the extended trots and half-passes. The extended trots after passage were stronger than the first one after the centerline, though. The extended walk got a bit sluggish. The transition from collected trot to piaffe was excellent, though the horse tossed his head a couple times in each piaffe. That minor resistance was a real shame because it can be one of Duval’s strengths. The bend in the canter half-passes was very good. Lyle rode really uphill two-tempis, though Duval shortened his neck a little in them. The ones up the centerline were lovely. The pirouettes were small and uphill, but Duval needed to pick up his hind legs a little more. The passage on the final centerline got slightly irregular behind, but Lyle maintained a high level of expression.

 

Charlotte Jorst and Nintendo never seem to really have an off night, though this was not their highest score (71.426%). Nintendo is not the most powerful stallion, but he makes up for it with impeccable character. He passages like he has an internal metronome, even if he is always a little out behind. Jorst needed to ride passage before the third extended trot more forward, but the rhythm still remained. Again in extended walk, Jorst dropped the contact, getting relaxation, but not the energy and connection needed for a higher score. The piaffe needed more sit but flowed well from and into passage. Nintendo came a little above the contact in the twos, so Jorst has some errors. The ones were correct, if not big. The extended canter was bold, though Nintendo should stretch more out into the bridle in it. The final centerline was the highlight of the test.

 

Millione does not have the most spectacular gaits in this class, but Jennifer Williams showed a clear sense of how to ride the most out of her horse (70.830%). The rider got lots of energy in the trot half-passes, allowing her horse to really reach both forward and sideways. The passage did not have maximum suspension but did have a secure balance and rhythm. Williams really rode out the extended walk but didn’t quite get the connection she needed for the first piaffe and the horse got braced and light in front for a moment. In the tempis, the changes to the right showed more freedom than the changes to the left. Williams lost the connection a bit after the extended trot, which slightly affected the first pirouette and ones up the centerline, but the second pirouette had a more supple and balanced canter. The passage to the final halt was very good.

 

Jessica Howington’s Cavalia (69.596%) looked more up in the bridle at the start of the Special than she did in the Grand Prix. But the mare did seem to run out of steam to some degree by the canter work. Cavalia got little out behind in passage, but the mare showed she can really push herself off the ground. The extended trots out of the passage were smooth, but not as bold as the first extension. Howington produced good energy in the extended walk. However, the rhythm of the collected walk was less clear, walk leading to a slightly resistant transition into the first piaffe. The piaffe itself had a good rhythm, but because the mare got a little sticky in it Howington dropped the connection to the bit and the mare came a bit above the bit. The tempis were workman-like right up to the end of the ones, where the mare lost sufficient energy to complete the line. The canter pirouettes could have had more jump, but the mare really sat. Seeing the final centerline from the front showed that the mare was not in perfect self-carriage, causing her head to waggle some in the final passage, though it was straight and springy

 

Susan Dutta’s Don Design (69.532%) seemed a little bit short and tight in the contact, perhaps because Dutta had to hold him back a little—he looked electric to her aids. The passage was ever so slightly irregular at times, but energetic. The horse’s hind leg is really engaged in extended trots, but he could still reach more in his back and be slower in his rhythm. The collected walk got slightly lateral and Dutta could not quite keep the first piaffe on the spot. Don Design took control in the twos and threw in extra changes behind as well as some ones. The ones, on the other hand, were a real highlight in the test. Dutta couldn’t get the needed bend for the second pirouette, so it got a bit big and unbalanced. On the final centerline, we got to see that Don Design, while expressive in passage, almost crosses in front.

 

Dutta seemed to really ride for it with her second horse Figeac in this test, but too many minor bobbles really added up, even while the overall impression was quite good (67.681%). Figeac seems to have really nice natural carriage, so it is a bit of a shame that he looked a little hard in the mouth. Dutta rode lovely half-passes with lots of suspension, though the bend to the left was better than to the right. The passage is where this horse’s talent really lies: he showed tonight how much he can spring upward and forward. In piaffe, however, he did not really sit, so he didn’t stay quite enough in place. The walk work could have shown more relaxation in the body. The twos were bouncy, though the canter quality decreased a little in them. There was an error at the beginning of the ones. Dutta managed the first pirouette really well, but the second got a little flat.

 

I hadn’t noticed the first night that Nick Wagman’s Ferano (67.043%) is a Scandic son, but the horse has the same delicate front-leg and bounce to his gaits. Ferano gave the impression that his passage is still developing, but it shone in the moments where Wagman could really ask the horse to push its stride forward. The extended walk had a clear rhythm but lacked the suppleness that would have allowed the horse to really stride out. Wagman managed to stop Ferano from quitting in piaffe this evening, but only by cutting the movement a few steps short of the required twelve. Unfortunately, Wagman went off course at the beginning of the canter work. A couple of the ones were short behind, both on the diagonal and between the pirouettes. The extended canter was bold and relaxed. The final extended trot could have had better engagement, but it had lots of thrust.