FEI World Cup Final 2013 - Grand Prix Freestyle

What a final! Today we actually got to see a class placed by training, rather than sensitivity to flowers. And there was some really excellent riding. The musical choices, on the other hand, were largely unmemorable. There was some Queen, as in every freestyle competition I've watched in the last five years, and, uuhh, I couldn't tell you what else (a slight exaggeration, but only slight). But even when the music didn't move me, the top riders hit their marks and musical transitions with precision. In general, detail-oriented riding of a freestyle pattern correlates well with high scores, though a rider like Jacqueline Brooks is a notable exception.


The winner, moved by her success:

I've posted the results and comments in reverse order of go.

Adelinde Cornelissen & Parzival: 86.500%

• Cornelissen rode and received every ounce of expression out of Parzival. He was so dynamic. However, the softness that Cornelissen was developing at the beginning of the World Cup season was not there today, and Parzival had an open mouth to a strong contact for almost all of the test. Sometimes Parzival has a tendency to have too much weight in his front legs in the piaffe and to just be active, but not under, behind. But not today. The piaffe was for a ten in the body: springing off the ground, croup lowered, hind legs stepping under, unflagging rhythm; however, it was produced through a contact with the mouth that was too strong. The trot-half passes stretch sideways effortlessly, but are just a tiny bit slow in rhythm, I think because of the difficult line they are ridden from. Cornelissen's test has a very high degree of difficulty and she executes it very well. The extended walk was a little deep in the neck rather than stretching and then Parzival let his tongue hang way out of his mouth for a few strides. The flying changes were light-footed and expressive, as always. The final piaffe pirouette was executed without any loss of the quality of the movement. 

Edward Gal & Undercover: 84.446%

• Gal's trains for exactitude and adjustability. He can ask in every moment of the test for what he feels Undercover can give him in that moment, and thereby gets the most he can out of the horse without building tension. The piaffe was like clockwork as usual, and with more elevation and expression in the Grand Prix. Compared to last year, the passage is a little quiet, but Undercover looks much more relaxed and focused, so I am sure Gal will develop it back again in time. The extended trot is powerful from behind and becoming more elastic, but still needs to step a little more under. In the trot half passes, Undercover's movement was less slow and still in correct bend. Gal's program includes a number of extended canters, all of which are spectacular: enormous strides and an open frame. In the first canter pirouette, Gal tried to bring Undercover more uphill, but lost the canter rhythm slightly. The twos were springy and ground-covering, but still a little short in frame. The ones were looking much bigger and more open in frame—better, I think, than the twos. The final passage was big and light-footed. 

Tinne Vilhemson-Silfvén & Don Auriello: 82.964%

• As I said yesterday, the smoothness and the consistency of the frame on Don Auriello makes this a wonderful picture, even though the power is sometimes lacking (especially in the passage). The horse is really regular and sitting in the piaffe, though the first one became a hair short in frame and needed a bit more forward feel. The rest were classically excellent. In the trot half-passes, Vilhelmson-Silfvén rides Don Auriello in a way that causes him to appear grow several inches in front (many people have the problem of horses diving down in the half-passes) as he flows effortlessly sideways. The first trot extension was quite powerful, but in the second, hind legs were trailing slightly. Vilhelmson-Silfvén rode a one-handed canter pirouette in each direction and they were both still tiny with really good bend. The difficult program included a half-pass to double pirouette, one stride, flying change, to half-pass to double pirouette, which was executed flawlessly. All Don Auriello's pirouettes, however, could be improved by a little more jump behind. The one-tempi changes are uphill and really reach forward, but need more jump up. Overall, the test showed really clean, soft, classical riding that matched and was in time with the music. 

Helen Langehanenberg & Damon Hill: 88.286%

• In the final, Damon Hill look even lovelier than in the Grand Prix. My biggest criticism is that the music is not that memorable, but the execution is so good. The transitions between piaffe and passage were effortless throughout the ride. In the trot extensions, Damon Hill is graceful and powerful, floating across the arena in big, light-footed strides. In the piaffe, not only was the stallion lifting his knees to his chest and springing up from behind, but he stayed nicely up in the bit. The frame throughout the test was absolutely correct: soft in the mouth, round in the neck, and just in front of the vertical. The third extended trot was the best, with Damon Hill stepping far under himself towards his center of gravity and lengthening in the frame; it lead to a very good half-pass which maintained the carrying impulsion of the extended gait. Langehanenberg rode a seamless transition from collected walk to extended canter. The canter pirouette left was a little big, but Damon Hill carried his weight behind as he turned. There was a hint of unsteadiness before the pirouette right, but  Langehanenberg quickly established collection for super pirouette. Damon Hill stretched his strides sideways in the canter half-passes and Langehanenberg did good job keeping him up in frame. The final centerline was spectacular, with unwavering transitions between piaffe and passage, and a piaffe that was the most uphill and in-place of any Damon Hill showed. 

Isabell Werth & Don Johnson: 80.429%

• Don Johnson was not quite as steady in the head today as in the Grand Prix, shaking it very slightly from side to side in collection, especially the piaffe and passage. Still, the rhythm and elevation in piaffe and passage is pretty good. The horse's extended trots are huge in the front and come under well behind but could use more forward power. Don Johnson really reaches sideways in the trot half-passes but is not too soft in the bend, especially to the left. In the transition into and first few strides of the canter, Don Johnson was bouncing up in the hind end more than stepping under, but Werth rode him into collection. The flying changes are very regular and springy but still a little high behind. Werth had a fantastic finish, going from enormous extended canter to pirouette in canter and piaffe to extended trot to square halt, all with clear and obedient transitions.

Patrik Kittel & Scandic: 78.393%

• Patrick Kittle went back to Depeche Mode! which of course, is well-loved and super for the horse, even if we have heard it many times before. Scandic looked much more relaxed than in the Grand Prix and Kittel did a lovely job riding him uphill and up in the bridle. Establishing bend in half-passes posed a struggle as usual, but they had good energy and reach sideways. The regularity in passage and piaffe is a strength of this combination. The extended trots are powerful, but need to step under more. Scandic's extended walk a little too tense and short in the stride. The canter pirouette to the left was a bit big and should have a more supple bend; the one to the right was smaller and more collected. Scandic had a small mistake at the beginning of the ones, but the quality of the changes themselves was quite high.

Anna Kasprzak & Donnperignon: 77.857%

• Kasprzak's program has a really strong entrance centerline that showed off Donnperignon's  excellent canter work, especially the collection for the pirouettes, where Donnperignon really lifts himself up in front. One of the one-tempi changes was a little close behind but the rest were good and they flow really nicely. The first piaffe transition didn't quite go through and the horse became gets very short in the neck. The second piaffe was in better rhythm. Kasprzak rode super expressive passage half-passes. The ones and twos ridden on a circle and two short diagonals were in impeccable rhythm with good energy. Donnperignon's last piaffe was biggest and showed the best transitions making for a strong finish for the pair.

Minna Telde & Santana: 74.107%

• As in the Grand Prix, the trot work was really lovely: Telde rides positively forward while maintaining a correct uphill balance. Santana shows cadence and nice lengthening of his stride in the extended trot, though he could show just a bit more over track. The half-passes moved powerfully forward and sideways without any loss to Santana's light-footed rhythm. The first piaffe was a little flat, but the passage was expressive. Telde executed a clear and smooth transition from extended trot to passage on centerline. The extended canter was big, but Santana became deep in the frame in the transition to collection for the pirouette.  The pirouette itself was good. Telde had a mistake in the two-tempi changes, which she did not repeat in her program. Twice she executed ones after a canter half-pass: the first time they started short and grew through the series; the second time they were better throughout. The piaffes near the end of the test had the best rhythm and were more in place than the early ones. 

Valentina Truppa & Eremo del Castegno: 79.696%

• Eremo showed lots of energy and good focus today, but there was some unsteadiness in the transitions between movements at times. The music didn't quite establish a good rhythm for Truppa to ride to, and made the unsteadiness seem more chaotic. The piaffe has a good frame and lots of activity. The horse needs to step under more in the big extended trot. Truppa gets nice bend in trot half passes and maintained the trot quality, but they could reach more sideways. Coming out of a pirouette to one-tempi changes, Eremo was behind Truppa's aids and missed the first change. The changes themselves were uphill and lively. Truppa rode an amazing final centerline showing off a huge passage balancing upward and forward energy and piaffe pirouette one-handed with a really high quality piaffe. 

Sidsel Johansen & Schianto: 75.393%

• Johansen's lively freestyle really suits her horse and uses great music, even if the musical transitions are rather weak. Her test began with a prompt transition from halt into animated half-passes that could have used a little better bend in the body. Schianto's passage was quite even lively in rhythm, in addition to its usual activity, after the first extended trot, but began to show unevenness and some almost double-beats behind after the piaffe. On the two-tempis on the half-circle, the horse lost some uphill strength behind, but the changes were regular and the  transition from twos to ones on the diagonal was well-executed. The canter pirouettes were uphill, but a little big, and better to the right than to the left. The one-tempis had great energy and spring. Johansen's last extended trot had the best uphill carriage, and the piaffe and passage on the final centerline were more regular in addition to having their usual super energy.

Tatiana Dorofeeva & Khorovod: 63.393%

• Khorovod has a lot of power, but needs to still develop it into carrying more than pushing and to become steadier in the rhythm. In piaffe and passage, Khorovod is springy, but tends to get a little deep in the neck and irregular, with more lift in the right hind. John Kyle (who was commenting) thought the music was not that appropriate for the horse, but I thought the classical music for the trot was nice and had a good rhythm for the horse, though the canter and walk music was less suitable. The first canter pirouette left started out nicely but the horse changed behind, but the right was very good and uphill.  When Dorofeeva tried to repeat the left pirouette, she had the same mistake. The test ended with extended walk! 

Jacqueline Brooks & D-Niro: 68.661%

• This horse and rider combination make such a sympathetic pair: D-Niro really seems happy to do the work Brooks asks of him, even though there are sometimes a few miscommunications. The first passage needed more activity, but was regular. In the warm-up before beginning her test, D-Niro broke into canter when Brooks asked for the trot half-pass, and unfortunately this happened in the test again. D-Niro lengthened his stride and frame, producing cadenced extended trots. The piaffe has good carriage and rhythm but it creept forward slightly. Brooks's second trot half-pass had better sideways energy. The program included a transition from extended trot to extended walk which showed off D-Niro's obedience, but extended walk itself was short and tight. There was a mistake in the two-tempis. The canter half-passes were correct, but could travel more forward and sideways. The canter pirouettes were small and decently uphill, with the pirouette to the right showing better separation in the beats of the hind-legs than the one to the left. D-Niro lost some energy in the one-time changes. The impression I had from the test is that Brooks is asking for more expression from DeNiro but this sometimes results in small mistakes. 

Inna Logutenkova & Stallone: 68.625%

• Logutenkova had better control of her horse's power in the freestyle—though still needs more—and Sjef, as John Kyle rightly remarked, looked noticeably happier with her result. Stallone steps under well in extended trot but needed to carry more of his weight, rather than just pushing it forward. The half-passes show some resistance to the bend. Stallone's canter pirouettes were well-balanced onto his hind end. Logutenkova did not quite create enough bend and angle in canter half passes, though they moved energetically sideways. There was lots of jump in the one tempis. Logutenkova rode the passage very forward to keep activity, but it needed to come under more behind. The program had an appropriate but not high degree of difficulty and a really nice musical ending with ringing bells

Marcela Krike-Susmelj & Molberg: 69.089%

• Krinke-Susmelj is another rider who really keeps her horse traveling forward to achieve good balance, though the horse will be better when he shortens his frame and comes up more in front. The pair's first piaffe traveled forward significantly, while the second was more in place; both piaffes needed to place more weight in the hind leg. Molberg's half-pass in passage lost of his good activity, and Molberg had a resistance before the third piaffe. The trot half-pass to the left had very good expression and rhythm. Molberg's extended walk needed more relaxation. The canter pirouette were quite big and lost the bend as they turned. Like the trot, half-passes, the ones in canter were energetic. The last extended trot became irregular. Molberg had nice activity behind throughout the test. 

Lillann Jebsen & Pro-Set: 71.679%

• Jebsen also shows positive forward riding, though Pro-Set does not quite have enough cadence. Pro-Set's extended trots were a little rush, though his strides lengthened nicely. The trot half-pass to the left was a little reticent, but the one to the right was better. The horse became stuck in the transitions out of piaffe. Jebsen executed very nice flying changes on a circle: straight and with big strides. Throughout the test, Pro-set reaches nicely forward in a good frame to Jebsen's soft and steady, but, oddly, does not ever fully close his mouth.

Marlies van Baalen & Miciano: 70.286%

• At the entry halt, Miciano had a bit of a backward feeling, making van Baalen's transition to passage difficult, though he settled into it nicely after a few strides. The first Piaffe lacked activity even though Miciano had fantastic frame in the body in it. Van Baalen rode really big expressive flowing trot half-passes. The flying changes were a little short behind. Van Baalen's transition to extended walk was clear and soft. The canter pirouettes needed more collection. Miciano is lively, but sometimes pulls down in the contact.

Jaimey Irwin & Lindor's Finest: 66.643%

• Overall, Irwin rode better transitions and had a more consistent ride than in the Grand Prix, but there were still some bobbles and his horse sometimes comes behind the bit. The passage looked more controlled and active today. The canter pirouettes were small but needed to sit and carry more weight behind. At one point Lindor's Finest broke from trot into canter. Irwin rode a nice bend and uphill frame in the trot half-passes but they were a little small in the stride. Lindor's Finest often trails his left hind. The pair showed nice flowing uphill changes. The final piaffe had the most elevation but sputtered a little in the transition out into passage.

FEI World Cup Final 2013 - Grand Prix

The day started out with the disappointing news that Kristina Sprehe's Desperados turned up lame in practice and had to be withdrawn. I don't think she would have been likely to win, but she would have placed highly, almost certainly within the top five, which is saying something, since this is a very strong world cup year.

Lots of riders had mistakes from tension today: the horses—even the ones used to the big indoor arenas—seemed a bit overwhelmed by the arena. horse2rider has posted on twitter that the riders (Patrik Kittel?) have filed a protest about changes to the arena since the schooling session. Also, today's scores were lower than usual, and not just because of tension mistakes. I thought the placement of rides was completely appropriate and that the lower scores actually are a better reflection of some of the minor limitations of the usually big-scoring, and even middle-scoring, rides. There was no turning a blind eye to tight backs, short necks, or insufficient activity behind that sometimes hide behind otherwise flashy performances. 

Helen Langehanenberg & Damon Hill: 79.863%

• This pair is the pinnacle of harmony. The trot work had an unfailing rhythm and Damon Hill's gaits are light and active. His expressive gaits don't come with the stiffness in the back that frequently plagues other combinations. The trot half-passes could have had slightly better bend, but of course, flow effortlessly sideways. The first piaffe stuttered slightly in rhythm and ducked a little behind the bit. The extended walk was near perfect, with relaxation, activity, and over-step. In the second passage and piaffe, Damon Hill was snorting, which caused him to pull downwards a little in the neck. The twos were ground-covering with excellent canter quality, but could come up just a little more in front. In the one-tempis, Damon Hill lost some of the forward inertia, and missed a couple changes. The pirouettes were tiny with good bend. The last piaffe still crept forward slightly, but was the best in the frame, and of course shows excellent elevation. A beautiful ride.

Jacqueline Brooks & D-Niro: 67.356%

• Brooks started out with the best half-passes I have seen from D-Niro, more uphill than usual and with good reach sideways. Unfortunately, little issues cost Brooks a higher score. The reinback was crooked and short. The extended walk was very small and did not show sufficient stretch, with D-Niro spooking at something in the corner. The second piaffe did not quite maintain a consistent rhythm, and D-Niro lost the quality of the passage coming out. D-Niro lost his balance in the second canter pirouette, and both the pirouettes and the canter zig-zag could have shown better bend. Overall, D-Niro looked lighter than usual, which made the little mistakes a shame.

Anna Kasprzak & Donnperignon: 74.894%

• A dynamic ride, but Donnperignon could be a little more open in the neck. The extended trot is big and even from front to back, but could use to lengthen more in the frame. Donnperignon shows elastic sideways reach in the trot half-passes. The piaffe is in place and active, but should show more sit, rather than just lifting the hind legs. The tempi changes spring off the ground, but lose some forward momentum towards the end. Kasprzak rode super collection in the pirouettes: good canter rhythm, really tiny, uphill and closed at the base.

Edward Gal & Undercover: 78.465%

• Today, Undercover was a little more tense in the frame and back than in his recent appearance at 's Hertogenbosch, but Gal finessed the arena-driven anxiety beautifully, just losing a little of the horse's expression and power at times. Gal was one of only a few riders who really established correct bend in the half-passes, but unfortunately the rhythm was a bit slow, taking away the flow of the movement. The first passage lacked some elevation, and the first piaffe, though not frantic as it can be, was a little too small. The extended walk was nice, but the collected walk was short and slow. The second piaffe showed more activity in addition to Undercover's nice frame and dropped croup. The two-tempis covered ground decently, but could still use to push off more from behind. The pirouettes were small, but didn't establish a sufficiently uphill collection.

Sidsel Johansen & Schianto: 69.878%

• Johansen presents a test that is light and active, but Schianto is limited by pushing more than carrying behind. The trot half-pass right started in good bend, but Johansen lost the haunches a little by the end. The passage was slightly uneven, and the first piaffe needed to be more in place and to show more weight in the hindquarters. In the transition from collected walk to passage, Schianto stepped quite wide with his right hind. The canter zig-zag was very well ridden, with soft, clear changes of bend and good ground-cover crossing the centerline. The pirouettes were big, but Schianto showed his best collection in them, coming under behind and up in front. 

Marcela Krinke-Susmelj & Smeyers Molberg: 69.498%

• This was a solid and mistake-free test, in the best sense: no huge scores, but consistently of good quality. The trot half-passes started parallel and in good bend, but Molberg lost the quality of the trot in the beginning of the one to the right. The left half-pass had better suspension. The piaffe is in place and in rhythm and Krinke-Susmelj rides good transitions, but the movement needs more sit. The canter zig-zag was very good. Like the piaffe, the pirouettes need more collection. The final passage was springy, with Molberg articulating his joints well.

Marlies van Baalen & Miciano: 63.070%

• Miciano's trot extensions needed more suspension, and the horse spooked at the end of both of the first two. Van Baalen rode a very good reinback: straight with clear diagonal steps. She had a big resistance with a spin and a bit of a rear before first piaffe; when it happened, the piaffe was active and closed at the base, but more from tension than obedience. In the second piaffe, the frame in the body was good, but the movement needed more elevation. Miciano frequently comes a little behind the bit. Van Baalen was really using the reins off the neck to control Miciano's body position. The horse steps under himself well, but his gaits lack the suspension to put him among the top, even without the tension.

Jaimey Irwin & Lindor's Finest: 61.474%

• Irwin rode a pretty clean test, but does not quite have the correctness of teammate Brooks. The extended trot needs more drive from behind. The first piaffe was stuck in place behind, but the later ones were more active, with a decently lowered croup. Lindor's Finest started the second piaffe too early, Irwin gave a little kick, and the horse responded with a little buck. The passage is the horse's best movement, with good rhythm and suspension.

Valentina Truppa & Eremo del Castegno: 71.778%

• Eremo started powerfully, carrying and pushing across the arena in the extended trot, but was very tight in the back. The first passage was active and big, but had to be contained from running off, and the tight rein contact led to a small and resistant first piaffe. The collected walk had over-track, but a lot of tension in the body. Eremo started the twos ahead of Truppa's aids, and she missed one of the early ones. The one tempi-changes were big and uphill. The pirouettes were tiny, but lost a little of the jump and activity of the canter. The final piaffe was in Eremo's usual form: croup lowered, legs lifting, and exactly in place.

Tatiana Dorofeeva & Khorovod: 64.286%

• Dorofeeva established half-passes that were flowing decently, but they didn't start fluidily to the right. Khorovod pulled down in the frame in the reinback and in the trot leading up to it. The piaffe crept forward and needed to shift more weight into the hind legs. The extended walk was relaxed and swinging in the back. The springy changes were in good rhythm, but needed to be more uphill. The canter pirouettes were one of the best elements of Dorofeeva's test: nicely small and uphill.

Minna Telde & Santana: 72.097%

• Santana showed quality trot work: active with suspension. The half-passes were very well ridden. The first piaffe lost activity; the second piaffe was in place and in rhythm, but Santana took a double step behind in the upward transition to passage. The two-tempis were springy and uphill, but tense in the body. The canter zig-zags did not travel enough sideways and the canter got quite small. The pirouettes were nicely collected and a good size, but Santana broke into trot before the pirouette right. The passage has very good elevation, but would be even better if it reached forward and up a little more in front. 

Lillann Jebsen & Pro-Set: 68.146%

• I want to say that Jebsen had the only fully mistake-free test, but there was one thing: she went off course! Nevertheless, her ride was really accurate and consistent, maintaining a good frame and contact. It was one of the most pleasant rides to watch, even if the horse would need to be more cadenced and dynamic to score higher. The piaffe was small, but in place and without resistances. The passage has a good rhythm. The canter pirouettes could have used more jump and sit, but were small and turned at a correct speed. 

Patrik Kittel & Scandic: 69.559%

• Scandic's trot extension seemed small, and when he spooked at the end it was clear that the extension was weak for being backed off. The horse continued spooking at the end of the trot half-pass to the left. The first passage was quite small, and Scandic has a rhythm mistake in the first piaffe. The collected walk was very tense. The second passage was more active, and the second piaffe was in rhythm and in place. Scandic spooked again before the extended canter. the zig-zag in canter was of very good quality, with a big canter and lots of sideways travel. Kittel gave quite quiet aids for the one-tempi changes, but they were small and tight in the body. Scandic finally settled by the final centerline, and executed very good piaffe and passage and really clean transitions between them.

Inna Logutenkova & Stallone: 66.702%

• Logutenkova's trainer Sjef looked not-so-pleased, but Logutenkova seemed happy enough with her ride. The piaffe and passage are diligent, but carry too much weight in the front legs and come a little behind the bit. Stallone struggled with the collection in the pirouettes. The final passage was big, but unfortunately Stallone cantered out of the piaffe. Logutenkova produced a more expressive ride than, for example, Jebsen but she didn't quite have the Norwegian's steadiness in the frame and transitions between movements. 

Adelinde Cornelissen & Parzival: 75.410%

• From the moment Parzival entered the arena, he looked tense and began crossing his jaw. Cornelissen rode with her usual intensity, and I was convinced that despite the scary arena, she would have a clean test. Parzival's mouth came way open in the extended trots. The half-passes have amazing reach, but were just a little slow in the rhythm. The first piaffe was excellent, with Parzival stepping up and under behind, as opposed to up and out, as he sometimes does. The extended walk needed more stretch. The transition to passage was good, but almost out of nowhere—it must have been a spook—Parzival gave a huge resistance, spinning and backing up. The scores for at least the piaffe transition and the piaffe itself, if not also the passage, were quite low, bringing Adelinde's score temporarily below 70%. Cornelissen's recovery was impressive, and the rest of the test showed only minor tension. The two-tempis were big and flowing and ground-covering as usual. The canter pirouettes were small, though the canter was a little small and stilted. Except for the resistance and the strong contact, many of the movements were really high quality. 

Isabell Werth & Don Johnson: 75.015%

• Don Johnson is a tough-looking ride, but Werth produced what I think might have been her best test with him. Though he still gave some resistance to the contact with little shakes of his head, overall, the connection was much softer and more consistnet. The first extended trot was tight in the back, but stepped under well behind. Unfortunately, Don Johnson spooked and broke into canter at the end. The trot half-passes were big: always a highlight in Werth's tests. Don Johnson's feet dragged in the rein back. The passage was a little uneven, and the piaffe has a funny rhythm. There were solid, definite transitions between piaffe and passage. The two tempis were uphill. Werth rode a huge extended canter with a soft, clear transition at the end of the diagonal. The ones were a little short and tight. The pair showed a good canter rhythm in small uphill canter pirouettes. The beginning of the passage on the final centerline was slightly uneven.

Tinne Vilhelmson-Silfven & Don Auriello: 77.432%

•  Vilhelmson-Silfven's test began with an impressive extended trot with more power than Don Auriello usually shows and huge lift in front. There was good crossing in the half-passes, but they were a little stuck. The halt before the reinback was square, but early. Don Auriello's passage needs more power and activity behind, even though it is appealing in front. The extended walk was tense and needed more stretch. The second piaffe was more active and in a very good frame through body. The one-tempi changes reached forward in front but needed a little more spring and quickness. The canter pirouettes were tiny and with very good collection. The final piaffe almost had a backward feeling but Don Auriello sat behind and lifted up in front, and the final passage was the most engaged. Vilhelmson-Silfven maintains a lovely soft contact through the bridle and a consistent frame through the back and neck through the whole test. 

CDI4* Hagen - Grand Prix for Special

Annabel Balkenhol & Dablino: 74.191%

• Dablino looked rather difficult at the beginning of the test, with Balkenhol working quite hard to get him supple. As a result, Dablino's haunched were lagging in the left half-pass in trot, By the half-pass right, Balkenhol and Dablino seemed to have come together, and the horse showed his impressive reach and power. The piaffe is in place and closed at the base, but could use a slightly more active rhythm. In the extended walk, Dablino stretched nicely, but was tense in his gait. The two-tempi changes sprang across the whole centerline: a real highlight. Unfortunately, Balkenhol had a mistake at the beginning of the ones, which were otherwise excellent. Both pirouettes had good sit and really kept the canter rhythm, but in the pirouette left, Dablino spun too quickly around. The final centerline showed a passage with lots of expression and engagement. 

Nadine Capellman & Girasol: 73.830%

• Girasol is an incredible mare, whose croup was made to sit. The main issue in the test is tension. The trot half-passes show good sideways reach, but lose some suspension. In the piaffe, Girasol really sits and springs way off the ground. Unfortunately, she doesn't quite have the strength to also maintain the frame, and so comes behind the bit. The collected walk was quite tense, losing its forward march. The two-tempis were ground-covering, but the ones were a bit small. In the pirouettes, the mare drops her croup, but could use to lift up more in front and maintain a clearer canter rhythm. As with Dablino the final passage had super lift and engagement. 

Marc Boblet & Noble Dream Concept Sol: 66.426%

• This is a very nice developing pair. Like Dablino, Noble Dream was not accepting correct bend in the trot half-pass right, but improved to the left. There was no interruption of the trot rhythm in the half-passes. The first piaffe was quite small and did not have a clear rhythm. In the passage, Noble Dream shows nice suspension and elevation, but gets behind the bridle in the transition to piaffe. The two-tempis were big and uphill, but slightly laboured. The final extended trot was really excellent, with Noble Dream reaching up and forward in front, and stepping under and pushing forward from behind. The piaffe on the centerline was early and showed too few steps, and Noble Dream showed some resistance out of it and tension in the last passage. Once this horse builds strength and gets used to the Grand Prix, I think she will be really impressive. 

Implicit bias in dressage judging?

            When I was watching the Prix St. Georges class from the Wellington Nations’ Cup last weekend, I was reminded of the familiar claim that it’s better to ride at the end of the class because that is when the scores are higher. I can imagine that this is especially the case when the class is as long as it was for that Prix St. Georges: it was a lot to watch, let alone to judge! But I was suspicious that some of the riders received scores that were a percentage point or two higher than they would have been had they ridden at the beginning of the class. What was my reason for the suspicion? Early on, I noticed that horses that were not terribly expressive, but supple and accurate, were scoring higher than ones that were big movers, but showing tension. It seemed that the tension was less penalized towards the end of the class.

            This is not to say that the judges are blameworthy. I would say that the tendency to score horses higher at the end of the class is an example of unconscious  (or implicit) bias. We have an unconscious bias when we, without being aware of it, have attitudes or behave in ways that favour one group over another. One place that unconscious bias is well documented is in hiring: when women and men are given equivalent résumés, men are still more likely to be invited to interviews. Most of the time, this phenomenon is not the result of explicit sexism, but of certain expectations we unconsciously have about the performance of men versus women, which lead the résumé reviewers to read the men’s more positively.

In cases where the strongest riders are in fact at the end of the class, the bias is useful, since the judges can more easily analyze the movements and give them a score: they have an idea of the (higher) range in which the score will fall, and adjust up or down based on fine details. I think there are two problem cases. The first is when a early rider has a fantastic test, but the judges are operating in lower score range, and don’t give the test high enough marks. In such instances, it is a little more difficult for inconsistent or improving riders to rise in the placings when it is deserved. In the second, a weak ride goes late, but gets scored up because it is among the tests expected to be better and score higher. Here, the best riders end up placing well, even on a not-so-good day. It would be better, I think, if the placings were more flexible, and I think the placings would be more flexible if the unconscious biases could be reduced.

            Judges are well-meaning and want to judge dressage riders fairly and consistently. But intending to be fair is usually not enough to prevent the effects of unconscious biases. In this case, judges must be expecting that earlier riders will be weaker and later riders will be stronger. It is an expectation that makes sense, since classes, especially in championships, are often ordered such that the riders who have previously scored well are placed at the end of the class. For the spectator, this is a great way to arrange a class: it’s exciting to watch the close competition for the win right at the end; but I think this is a likely what has led to this judging bias. 

CDIO3* Wellington Dressage Nations Cup - Grand Prix

What a long day of dressage! But here are my comments on the Grand Prix, too. In both the Grand Prix and the Prix St. Georges, most of the scores are quite low either because the horse lacks expression in its gaits, or the expression comes with tension. No one quite had the synthesis of expression, precision, and relaxation—either leaning a little towards tension or a little away from expression—but the ones at the top were definitely the closest.

The bane of the Grand Prix riders in today's class was a passage that was uneven behind: there were lots of horses with one lazy hind-leg!

Olivia LaGoy-Weltz & Rifallino (ARG) 63.149%

• No one closed the arena behind Rifallino: is that allowed? LaGoy-Weltz kept Rifallino in a nice frame and contact, but the piaffe and passage are not secure yet. The half-passes need to be more parallel and show more crossing behind. The reinback was a little stuck and could be more diagonal. The extended walk was stretching and marching. Rifallino's second piaffe was better in place, but the passage was too trot-like. The transition to collected canter was very clear. LaGoy Weltz had a mistake in the one-tempi changes, which were twisting slightly. Both pirouettes were big but decently uphill, with the second better than the first. Of the tests I watched today, this was the one where the judges most often agreed in their scoring. 

Susan Dutta & Currency DC (USA II): 65.915%

• The trot work was the best part of Dutta's test. The extended trots have very good over-track, though they would improved by a little more suspension. Currency DC crosses well in the half-passes, which would be even better if they reached more sideways. The passage has more than sufficient elevation. The extended walk could use more over-track. Dutta's first piaffe was small, but the second was bigger, though both need a clearer rhythm. The two-tempi changes were springy, but a little tight in the body. The canter half-passes could use to travel more sideways. Dutta had a few mistakes in the one-tempi changes: a missed change and a that were late behind. The pirouettes would be improved by more sit and a better canter rhythm. Currency DC is an expressive horse, but seems quite susceptible to tension in the body.

Mikala Munter Gundersen & My Lady (EUR): 65.227%

• My Lady seemed maybe a bit tired today, as the test contained a number of little mistakes. There was some resistance to the bit in and leading up to the first halt. The extended trots were big, with the horse lengthening nicely in the frame. In the half-passes, the trot becomes a bit flat. The first passage tour was elevated, but My Lady stepped under more in the right hind. The piaffe could be more in place even with the good rhythm. The transition from collected walk to passage was unclear. The passage leading up to the canter was the best: not only springy, but also even behind. My Lady almost broke out of canter at the beginning of the zig-zag half-passes. The one-tempi changes cover ground, but could be more uphill. Owing to resistance or rider error,  Munter Gundersen had to circle before her canter pirouettes. But the off-course detour gave her a second to prepare for good pirouettes: they might have been smaller, but My Lady carried weight well behind. 

Evi Strasser & Action Tyme (CAN I): 64.021%

• In the half-passes, Action Tyme's haunches trail rather badly, but Strasser does a good job keeping the cadence and quality of the trot. The reinback was sluggish. The passage is slightly uneven, with Action Tyme stepping under more in the left hind. The piaffe is in place at the expense of some activity. The extended walk showed good stretch in the neck and back. In the zig-zag, the horse traveled well sideways. The tempos need more jump and uphill tendency, and Strasser had a mistake in the ones. The canter pirouettes were small, but would be improved by more jump in the canter. The final passage had a better, more even rhythm. 

Ilse Schwarz & Cadenza (AUS): 61.872%

• In the first half-pass, Cadenza saw something spooky, leading to a loss of bend and impulsion. The halt before the reinback was abrupt. The piaffe was nicely in place, but almost had a backwards tendency. The passage needed more elevation. The second piaffe was better, with a little more lift in the limbs, and no backwards inclination. The two-tempis were ground-covering. The flying change at the end of the extended canter was early behind. The left pirouette was quite small, but drifted out at the end; the one to the right was also small, but turned a little bit around the middle of the horse. The horse became crooked a few times on the final centerline, but the piaffe was again nicely in place and up in front. 

Shelly Francis & Doktor (USA I): 70.213%

• Francis started her test with a super entry. The halt was prompt and square, but not abrupt. The half-passes showed good cadence and reach forward and sideways. Francis got lost after the reinback and had to circle around! The first piaffe transition almost fell into walk. The piaffe itself, however, was quite good, with Doktor closing at the base and lowering his croup. There was a small resistance in the bit during the second piaffe. One of the two-tempis was almost late behind; the one-tempis were straight  with good jump. The pirouettes were of very high quality: tiny, maintaining a good canter, and in correct bend. The final passage had good elevation. Francis does a beautiful job with Doktor, but gets a little stiff in her arms.

Susan Jaccoma & Wadmur (ARG): 62.191%

• Wadmur was really crossing in his half-passes. The piaffe was very small and was uneven behind. The transition from collected walk to piaffe was unclear. The zig-zag travelled well sideways, except for a small spook in the middle. The ones were smooth. Wadamur needed more bend in the pirouettes. Though the piaffe on the final centerline was crooked, Jaccoma produced the most elevation in the passage in the last series.

Cesar Parra & Van the Man (USA II): 69.043%

• The first extended trot took a little time to develop a nice reach in front. In the half-passes, the trot became slightly uneven. Van the Man has a big passage, but it would be better if he carried more of his weight behind in it. Parra started the first piaffe too early. Nevertheless, the quality of the piaffe was good, with activity and a lowered croup. The extended walk needed more energy and over-track. The twos had good elevation and ground-cover. Van the Man developed quite a bit of tension in the zig-zag. The one-tempi changes were up nicely in front, but needed to step under more. The uphill, small pirouettes just barely lost their canter rhythm at the end. On the final centerline, Van the Man stopped before the final piaffe, which was otherwise very good. 

David Marcus & Don Kontes (CAN I): 65.872%

• Don Kontes began his test by breaking into the canter at the end of the first centerline. The half-passes start with good reach and crossing, but suffer a slight loss of impulsion by the end. In the extended trot, Marcus needs to allow the horse to open his frame a little more. The piaffe is in place and active, but would be better with more sit. Don Kontes was sometimes uneven behind in passage, though less so after the second piaffe. Don Kontes stepped under well in the twos, but got tense and made a mistake in the ones. The horse lost the quality of his canter behind in the canter pirouettes, less so to the left than to the right. The last passage was the most even and had good expression.

Heather Blitz & Paragon (USA I): 71.021%

• Blitz is in her black coat and helmet today, instead of her matching brown. In the first extended trot, Paragon had over-track, instead of merely flamboyance in front. The first passage was uneven behind. The first piaffe crept forward, becoming above the bit and dropping the contact, though Paragon was really sitting behind. The collected walk had good over-track. Blitz's second piaffe was resistant and not really in rhythm. The tempi-changes were superb, jumping off the ground and stepping under; the twos were better in ground-cover. Paragon's extended canter was huge, uphill, and soft on the ground. At the end of the canter zig-zag, the horse changes early. The pirouettes were small, but needed better jump in the canter. The last extended trot was reaching high in front, but Paragon did not step as well underneath himself. The last piaffe had the best rhythm and contact with the bit. 

CDIO3* Wellington Dressage Nations Cup - Prix St. Georges

I watched most but not all of the Wellington Nations Cup CDI, and include here remarks on most of the rides that I got a chance to see. Watching lots of riders from the Americas,  I noted a common (though not universal) difference from the Europeans. The American (not just US) horses tend to be very evenly developed back-to front, but the European horses are ridden with a flamboyance that the American horses lack. Today, flamboyance was sometimes associated with tension, and the the solid American rides scored better. Of course, in the end, we all aspire to ride a relaxed, willing horse with knees that reach it's nose!

Also, I have to hand it to the USEFNetwork. Last week, technical problems led to a terrible live stream for the Global Dressage Festival CDI5* Freestyles. But they made lots of sincere apologies for the trouble and vowed to fix things for this week. And they delivered! The live stream has been flawless, and they're quickly posting video-on-demand of the rides.

Note that the nations listed next to the names are the team names, which don't always correspond to the rider's actual nationality (for example, EUR for Europe is not a nationality!).

Kimberly Herslow & Rosmarin (USA I): 72.079%

• This pair was the well-deserved winner of the class. Herslow did not produce the most expressive ride, but it was smooth, correct, and without mistakes. Rosmarin has a very nice extended trot, with good over-track and pushing dynamically across the arena. In the volte, Herslow did a good job keeping the uphill balance. The trot half-passes had good bend, but the haunches could have been a little closer to parallel. Both walk pirouettes were small and active, with the one to the right slightly better. Romarin was swinging nicely through the back in the extended walk, though he is a little slow. Herslow produced good collection for the canter pirouettes, getting her horse to close at the base and lift up in front. The four-tempi changes needed to be bigger, and the three-tempi changes were smaller than the fours. The extended canter was beautifully uphill.

Heidi Gaian & Chicago (ARG): 66.132%

• Chicago's trot was a nicely active, though a little uneven in rhythm at times, improving through the trot work. The extended trot was ground-covering, but a little quick and needed more reach in front. Gaian rode trot half-passes that were active with good crossing. The horse collected very nicely for the canter half-pirouettes, but got just a little flat by the end. The flying changes were the highlight of the test: in all of the Chicago jumped up and stepped well underneath himself. 

Christopher Hickey & Witness Hilltop (USA II): 68.237%

• Hickey started off with a big medium trot which was slightly rushed. The movements—like the excellent trot half-pass left, which really crossed and reached forward and sideways—were generally very well executed, but Witness Hilltop was sometimes a just little unsteady in rhythm or contact as a result of tension. There was a small resistance in the walk before the half-pirouette right. The horse collected very well for the canter pirouettes, sitting and closing at the base. The extended canter was big, like the extended trot, but was also a little rushed and could have come up more in front. A good test that could just use that last bit of polish.

Marco Bernal & Farewell IV (COL): 65.342%

• Well, they began on a 40% with a very odd resistance in the first halt: it started out at a 45º angle and then Farewall backed up. Luckily, this was not a sign for anything to come. The rest of Bernal’s ride was very soft, with just small mistakes. The shoulder in had a good, consistent angle and the horse stepped under well. Farewell showed some resistance to the bend at the beginning of the right trot half-pass, but finished nicely. The canter half-pirouettes were small, but could use to come up more in front.

Christilot Boylen & Dio Mio (CAN I): 70.395%

• The trot work was very good. The shoulder-in was a bit steep, restricting it just slightly, but the still of good quality and better to the right. The trot half-passes were super, stepping actively forward and sideways. In the collected walk, the horse was very tense, opening its mouth and dropping the bit. Then the horse gave a major resistance in the transition from walk to canter. In the canter half-passes, Dio Mio could reach more sideways. The flying changes had good jump and were uphill, though could cover more ground. Overall, the canter and trot work was super, and Boylen might have gone into the lead had it not been for the tensions in the walk.

Lindsay Kellock & Hunter Douglas Rhapsody (CAN II): 65.974%

• Kellock kept Rhapsody in a quite forward trot, which was appropriate to maintain his gaits, but sometimes led to some inconsistency in the rhythm. In the shoulder-in left, Rhapsody had good angle, but needed more bend.  The haunches trailed slightly in the canter half-passes, but the canter itself was expressive. The canter pirouettes were small, but Rhapsody's canter became quite flat. The tempis could have shown more reach up and forward in the forelegs, but were sufficiently ground-covering.

Kristy Treubenbach Lund & Reel Adventure (AUS): 60.316%

• In the first shoulder-in, Reel Adventure drifted off the rail slightly at the beginning, and lacked sufficient reach forward and sideways. The walk pirouettes were not sufficiently active behind, with the horse rotating on his hind legs. The extended walk was relaxed with good stretch. Reel Adventure broke out of the canter after a small half-pirouette to the left, and the half-pirouette right was quite big. The four- and three-tempi changes were a bit short and small. Treubenbach Lund had an unfortunate mistake in the flying change after her nicely forward extended canter. 

Patricia Ferrando & Alpha’s Why Not (VEN): 63.316%

• Why Not has a huge extended trot, though it could use to come up more in front. Ferrando had trouble maintaining a consistent angle in the shoulder-in. There was some tension in the early collected canter, continuing into the half-passes, though they showed very good crossing behind. The canter pirouettes lost the quality of the canter. The tempi changes could be more uphill, though they were nicely ground covering.

Juan Matute, Jr. & Gasper (ESP): 65.895%

• The medium trot was even from front to back and stepped under well, but could have used more suspension; the extended trot was more expressive, but was uneven at the beginning. The collected walk was a little hurried, though the half-pirouettes were small and active. In the canter half-passes, Gasper could have crossed more behind, though the changes at X and M were super. The half-pirouettes were quite big. Matute missed the first count of his threes, though the changes, again, were of good quality.

Caroline Roffman & Her Highness O (USA I): 69.684%

• Roffman’s test started with a super medium trot with lift and ground cover. In the shoulder-in, the horse stepped well underneath itself, maintaining a correct bend and angle. In all the trot work, the rhythm was totally consistent. Well, except for an unfortunate break into canter in the extended trot. The collected walk had good over-track. In the walk pirouettes, Her Highness O led slightly with her haunches, but the pirouettes were small and active. The canter pirouettes were the highlight of the test: tiny, uphill, with a sufficient number of strides. In the three tempis, two changes were together or late behind. Roffman’s test had elements of super quality, but tensions in her horse led to some costly mistakes.

Mauricio Sanchez & First Fisherman (COL): 63.500%

• What a laugh from the announcer for Sanchez’s test: “Could we open the gate, please? This isn’t a Prix Caprilli team competition.” Snarky! Sanchez actually rode a shoulder-in on three tracks (unlike most people on four!), but the horse’s weight needed to come more onto his haunches. The half-pass left could have been more parallel. First Fisherman wagged his head in the extended walk, I think because Sanchez was asking him to stretch down more. The canter pirouettes were small and very well prepared, but needed a little more jump. The tempi changes could also have used more lift off the ground, though the fours were better than the threes. Sanchez’s riding was soft and tactful.

Kevin Kohman & Zephyr (EUR): 67.132%

• Kohman maintained an absolutely consistent rhythm through all the trot work, but the horse could have been more expressive and uphill. The extended walk needed more over-track. The canter half-pass left had excellent crossing, but the flying change at X was a bit crooked and Zephyr’s haunches trailed a little the right half-pass. The pirouettes were small with a good canter rhythm. Kohman finished on a super final halt: straight and square, and not proceeded by any funny lateral adjustments. A test with no mistakes. 

Maya Markowski & Lumiere (CAN II): 66.789%

• The extended trot was very good, stepping under and reaching forward in front. Lumiere became very much on the forehand in the voltes. Markowski’s walk pirouettes were a little big, but maintained the walk nicely. In the flying change between the canter half-passes, Lumiere became quite crooked. Markowski could not quite keep the canter for the left canter half-pirouette; though the canter was better to the right, the pirouette was bigger. And then the live stream went off air! So much for my praise? Nope, it only lasted a minute. Markowski's ride was further demonstration that one can get a nice score through good riding, even when one's horse is not the biggest mover.

Kelly Layne & Von Primaire (AUS): 63.579%

• Whoops, another ride with that silly little mistake of drifting off the rail in the shoulder-in! Layne kept a good quality in the trot in half-passes, but they needed more bend. The canter pirouettes were small and kept good activity and rhythm, but unfortunately, Von Primaire changed right out of the half-pirouette right. Actually, Von Primaire was flying-change-happy today, throwing in some one-tempis in the threes! Layne has a lovely position, both upright and soft. 

Alida Coburn & Darius (VEN): 59.947%

• Coburn produced an obedient test, but it was definitely in need of more impulsion. The half-passes in both trot and canter needed to show more bend in the body. The flying changes after the pirouettes was nice, and the tempis ground-covering, though they needed more jump. 

Carlos Munoz & Klouseau (ESP): 65.342%

• Klouseau started out with a medium trot that was very even from front to back and had good reach, but was just a little rushed. Munoz produced very good crossing in the trot half-passes. The extended walk was diligent and stretched nicely, but could have shown more relaxation in the horse’s back. The canter pirouettes were small and uphill, though Klouseau lost his balance ever so slightly at the end. Munoz asked for his right flying change after the pirouettes at H instead of C, tried to repeat it and lost the canter. Whoops! The change was very nice too! The judges clearly didn’t know what to score, giving it from a 1 to a 4. Other than that absentminded moment, it was a very nice test. 

Carmen Franco & Vinho Dos Pinhais (COL): 63.132%

• The medium and extended trots were quite nice, with the horse showing good over-track and really reaching forward in front. In both voltes, the horse traveled slightly in haunches-in. The half-pirouette left in walk rotated on planted hind legs, but the one to the right was more active. The canter half-passes both showed excellent bend, though the haunches trailed in the one to the left. The pirouettes needed a little more preparation and collection, becoming quite big. The horse steps well underneath itself in the canter, making especially for very good flying changes. This is a fancy little Lusitano, and quite young, leaving time for future improvement.

Lars Petersen & Chicco Roslev (EUR): 70.447%

• Chicco Roslev reaches nicely in the medium and extended trot, but could use more elasticity. The horse should step under more in the voltes. The half-pirouettes at the walk kept the walk rhythm very well, and stepped around nicely, though were slightly unbalanced (perhaps we need some judging discussion here, though, since Petersen got 7s and 7.5s except for one judge, who saw a 5, probably because of the degree of imbalance). The canter pirouettes were very collected, but needed more bend. The first of the four-tempis was late behind, but the rest were big. Petersen keeps Chicco Roslev in a very correct and consistent uphill frame.

Lee Tubman & De La Rosa (CAN II): 67.632%

• While De La Rosa showed correct bend and crossing in the shoulder-ins and half-passes, she would score better if she took more weight behind. The collected walk was very relaxed and had good over-track. The extended walk was lovely, with De La Rosa reaching into the contact, stepping over her tracks and staying relaxed in the back. The mare got a bit heavy in the collection for the canter pirouettes and began to open her mouth quite a bit. A few of the changes in the test were late behind. Despite the mistakes, the tempis were very straight. 

Alejandro Gomez & Revenge (VEN): 67.000%

• Revenge showed good shoulder-in on three tracks in both directions. The left half-pass had sufficient crossing, but the one to the right needed a little more. The flying change between the canter half-passes was very straight. While the canter pirouettes were small, they could have come more up in front. Gomez had some mistakes in the four-tempi changes, the first change was behind the aids, and there was a issue with the count. The changes themselves jumped up nicely.

Juan Matute & Don Diego (ESP): 65.816%

• Don Diego has nice elevation in his trot, though he still has a funny tendency to drag his toes a little behind. The half-pass left showed resistance to the outside leg, with Don Diego first trailing the hind-leg and then cantering. The horse became uneven in collected walk, stepping short on the left. Matute rode a very good change of bend and direction in the canter half-passes, smooth and prompt. The canter pirouette left was in place, but got a bit deep in the neck; the one to the right was a little bit bigger, but in a good frame. The tempis came up well in front. The final half was very precisely executed and perfectly square.