Dressage at Devon 2014 - Grand Prix and Grand Prix Freestyle

The Dixon Oval lit for the Grand Prix

Ashley Holzer & Tiva Nana in their lap of honour.

Well, it was another fun year at Devon. The Grand Prix to qualify for the kür was not the most

inspiring class, but for the Freestyle, everyone pushed a little harder or added a little polish, making it a pretty great class. In general, I find freestyles frustratingly hard to follow, but everyone was pretty on target last night.

The winner of both classes was Ashley Holzer with Tiva Nana. The mare is energetic with a super active and powerful hind end, leaving Holzer with the tough task of directing the energy. The Grand Prix (69.680%) was a bit hectic, but the freestyle (76.125%) looked more controlled. 

On Friday, the mare came in looking pretty overwhelmed by the atmosphere. With all here power behind, Tiva Nana sometimes got a bit croup-high. In the piaffe, for example, the mare lifted her hind legs way off the ground, but should sit more. The extended walk steps were a few inches shorter from the left hind. The two tempis jumped way off the ground but the strides were a little running. The canter was also rather hurried and disjointed in the zig-zag. The ones were nicely expressive. The canter pirouette left was well-controlled, but the second lost some of the quality of canter rhythm.

Karen Pavicic & Don Daiquiri

Ashley Holzer & Tiva Nana

In the freestyle, Holzer started out in collected walk, which was a nice strategy to get a good walk score before the mare got wired. She then transitioned to a totally relaxed and expressive piaffe, though again, it could have had more sit. In the trot half-passes, Holzer rode Tiva Nana with lots of power forward and sideways. The pair's tempis jumped way off the ground, but could have jumped more smoothly through. The tiny pirouettes could have had a cleaner canter rhythm. While the final passage was so expressive it barely touched the ground, with the crowd cheering and revving her up, the mare got away from Holzer a bit.

Second both days was Karen Pavicic, whose star has been on the rise, and who had very nice rides on Don Daiquiri. In the Grand Prix, Pavicic finished with 69.180%, just half a percent behind Holzer. Since her test was more controlled and focused, I felt she should've taken the win, despite the errors in her test. The extended trots had lovely long strides that powered across the arena. The passage was supple and expressive, but could have traveled more forward. Because the passage was a bit stuck, Don Daiquiri got a bit unsteady in the contact. He also got a bit deep in the piaffe, though it was nicely active and rhythmical. Both nights, the pair showed the best extended walk of the night with long relaxed strides and lots of over-track. Pavicic's freestyle (73.575%) started with a line of one tempis with errors, but her next movement was a super uphill pirouette that turned easily and in excellent balance. The canter half-passes and flying changes were round in their strides, but could have powered a little more forward. Pavicic also had an unfortunate break into canter in an extended trot. She ended with a huge passage. 

Catherine Haddad-Staller & Hotmail

Catherine Haddad-Staller was third in both the Grand Prix (68.580%) and the kür (73.100%). Haddad-Staller gets every ounce out of her beloved Hotmail, but it sometimes comes from strong half-halts or a touch with the spurs that create reactions which interrupt the flow of the test. Overall, she holds the horse up a bit in the contact, though he stays quiet and soft in the mouth. 

Catherine Haddad-Staller & Hotmail

In the Grand Prix, the first extended trot had a rhythm error. Hotmail showed good crossing and expression in front in the trot half-passes. Haddad-Staller produced lots of expression in the passage, though there were a couple of double-beats behind. The two tempis were uphill with superb shoulder-freedom; the one tempis could have covered more ground. Haddad-Staller's first pirouette was small and active, but in the second Hotmail lost some of his balance and escape. 

Catherine Haddad-Staller & Hotmail

For the kür, Haddad-Staller rode with risk to get the top scores, but one result was a big kick out at her leg in the canter transition on the first centerline. This was a shame since it was preceded by a wonderfully engaged passage and followed by a big flowing extended canter. The tempis again had nice shoulder freedom, but their fluidity was slightly disturbed by the strong contact. For a few moments in the canter half-passes, Hotmail's lively and easy canter reminded me of Parzival. The extended trots were irregular at the beginning but developed nicely. Their ride ended with the passage and piaffe which is their perpetual highlight. Haddad-Staller had a bit of a wild ride in her honor round for the freestyle, but she seems to love showing off Hotmail, playing with an enormous piaffe at the end and trying to work up the crowd to cheer for her horse.

Jacqueline Brooks & D-Niro

Fourth place was the last that stayed the same across both evenings, and it went to Jacqueline Brooks and D-Niro. Her Grand Prix test (67.420%) was a bit flat, but her lovely grey horse was with her for the kür (71.725%). Her trot half-passes had a nice fluid way of pushing sideways. The passage was regular but a bit flat. Overall, everything was steady, but merely lacking the desired lightness and expression. They did finish with a very classy final piaffe. In the freestyle, the pair worked together really well, with every transition precise and obedient. The extended trots were powerful. The piaffes had very good spring, sit, and balance. The trot half-passes were good again. In general, the canter work should have a little more air-time, and a couple of the one tempis jumped together behind. D-Niro should ideally reach a little more up into the bridle, rather than letting Brooks hold him up. Still, the picture is a very harmonious one that is a pleasure to watch. 

Kelly Lane and Udon P were eighth in the Grand Prix (66.180%) but pulled up to fifth in the freestyle (71.675%). Udon had a very powerful trot that got a bit hurried in the half-passes. The piaffes were sitting and active, but sometimes got crooked. The canter pirouettes were well-controlled. 

Kelly Lane & Udon P

Shiny coats and shiny quarter marks!

Lane chose ABBA tunes for the freestyle, starting off with "Money, Money, Money." Udon has a nice passage where he really lifts his feet off the ground, so Lane made a good first impression starting with it. Their one tempis were a bit tense, with Udon swinging his body slightly from side to side. While Udon really sat and collected for the pirouettes, the canter jumped a little too much together behind. The extended trots were big and lively. The half-passes were ridden in good bend, but the trot could have moved sideways a little more freely.  Lane rode her horse in a good frame.

I thought that Michael Barisone's HF Victor, who was ninth in the Grand Prix (65.580%) and sixth in the kür (71.600%), showed an improved overall picture since Gladstone in June. The horse was in general lighter, more collected, and more uphill in his frame. In the Grand Prix, their trot half-passes showed good crossing, but some irregularities. The passage was nicely relaxed while still being expressive. The first piaffe got a bit slow in the rhythm and wide behind, but the second was very good. The two tempis could have been more uphill. In the first pirouette, HF Victor lost his balance at the end and could not maintain the canter. The second was small and uphill, but not in correct bend or totally balanced. Their final line of sitting piaffe and springy passage was the clear highlight of the test.

Michael Barisone & HF Victor

For the kür, the New Jersey-based Barisone chose a tune from close to home: Billy Joel's "Scenes from an Italian Restaurant." He started with the walk work, which was a bit tense. In this ride, the pirouettes had good sit and jump, but got a bit big. The transitions between piaffe and passage were excellent, though the nice front leg HF Victor has in passage could use a bit more support from a more engaged hind leg. Overall, the movements have decent power and there is potential for more, but aren't quite steady in their execution. 

Jill Irving & Pop Art

P.J. Rizvi & Breaking Dawn

Jill Irving and CDI schoolmaster Pop Art were passed by a couple combinations in the freestyle, coming seventh with 71.475% after a fifth place in the Grand Prix (67.220%). Pop Art is sparkly in his movement, but rather dead and hard in the contact, despite the usually correct frame. While the consistently rhythmical piaffe and passage could engage more, the transitions between them were clean. The flying changes to the left tended to get slightly short and tight behind. Both days, the canter pirouettes could have been more uphill. In the freestyle, there was an error in the first extended trot. Towards the end of the test, Irving rode an impeccable transition from canter to piaffe. Their final line contained a top canter pirouette. 

P.J. Rizvi has now taken back the ride on her beautiful and now very experienced Breaking Dawn from trainer Ashley Holzer. The horse has a lovely front leg but tends to get a bit croup-high behind if not carefully managed, especially in the tempi changes. In the Grand Prix (66.920%), Breaking Dawn's long legs allowed for very good crossing in the trot half-passes. The extended trots needed to take longer strides. The first piaffe was regular, but a bit early. The extended walk should have showed a bit more stretch in the neck, but overall the frame is nice and the contact soft. The pair had some errors in the one tempis. The pirouettes were small and uphill but could have better approximated the canter rhythm.  I hadn't heard Rizvi's music before, and it turns out she, like Charlotte Dujardin, is using music from How to Train Your Dragon, including many of the same melodies and phrases. It was a suitable choice, but the repeat, whatever the order, is unfortunate. The passage work was beautifully elevated in front, but a little slow and out behind. While the two tempis got a bit croup-high, the ones were quite good. Overall, the work is good, but not totally secure and steady. I imagine the combination will continue to develop together.

P.J. Rizvi & Breaking Dawn

Brittany Fraser & Countess

Brittany Fraser's Countess has active high energy movement, especially in the nice elastic trot. The trot half-passes could have shown more crossing. The piaffe had slightly more engagement on the right, but the mare drops her croup correctly in it. However, in the passage the hind legs were not consistently pushing directly forward. In the Grand Prix (66.360%), the canter work was a little weaker. The two tempis were full of errors and the zig-zag could have been more balanced. The first pirouette was huge, but sitting. Countess sometimes gets a bit tight in the neck and occasionally tilts her head a hair. In the freestyle (66.525%), Fraser produced a top class first piaffe that was springy and engaged. The first passage was a bit irregular. The pair had errors in both lines of one tempis, as they got a bit hurried and restricted in their strides. The final passage was elevated and regular.

Brittany Fraser & Countess

Stephanie Jensen and Addiction made a pleasant, if sometimes slightly ponyish, picture. The extended trots showed nice over-track and lengthening of the strides. The trot half-passes were a bit flat. Both in the Grand Prix (63.780%) and the freestyle (67.875%), the passage was decently uphill but needed to step more up and under behind. The piaffe was sufficiently active but traveled a bit too much forward. In the Grand Prix, the first pirouette was small and sitting, but Jensen lost the canter at the end of the second. In the freestyle, both pirouettes came off well, but needed more differentiated steps behind. Jensen had a few contact irregularities during her rides, but overall the frame was nice. 

Stephanie Jensen & Addiction

Michael Bragdell & Don Principe

Michael Bragdell's Don Principe is a very handsome horse, but the work still needs to come together more. In both the Grand Prix and the freestyle, Bragdell rode a dynamic passage that could spring more softly into the bridle. Their tempi changes were ground-covering but a little downhill. In the Grand Prix (62.260%), Bragdell had an error on the final centerline with Don Principe quitting for a few strides before the piaffe at X. In the freestyle (67.375%), the piaffe was nicely sitting. Unfortunately Bragdell had a major error at the end of his test, losing the canter for 20 meters or so. Luckily a very good piaffe before the final halt left a good last impression.

Tracey Amaral Olsen & Lamborghini

Tracey Amaral Olsen had two steady, solid rides. Lamborghini, contrary to his name, was not the most spectacular horse, but made no major errors. In the extended trots, the pushed forward decently from behind, but tended to flick his toes out rather than reach up and forward. The Grand Prix (63.780%) half-pass to the right was quite fluid as it pushed sideways, but the one to the left was a little labored. Lamborghini sits and piaffes very well in place, but could lift himself up more in each step. The tempis needed a bit more jump and the zig-zag could have been more fluid. In the freestyle (65.750%), the slightly flat canter work was the weaker part of the test. The piaffes again were diligent and closed at the base; the passage should have been quicker and more under behind. They finished on a strong extended trot.

Michael Bragdell & Don Principe

I also saw a few rides from the Grand Prix for Special on Friday, though I missed the rides of the winners and newcomers to the CDI scene Alison Brock and Rosevelt. Michael Barisone was showing his other light-footed chestnut ride, Ellegria, in the Special tour. She has not developed as much since Gladstone as her stable-mate, though Barisone rode her with a nice amount of expression. Unfortunately, she travels around with quite a hard open mouth. She has a nice passage and piaffe, though the transition out of piaffe into passage still needs development.

Brittany Fraser watching trainer Ashley Holzer

Canadian Team Trainer Volker Moritz
watches Karen Pavicic's test

One of Guy McLean's lovely Australian stock horses looking around with mild curiosity during their performance.

Michael Barisone & Ellegria

I was very curious to see Heather Blitz and her amazing mover Paragon. The pair has definitely made some progress: Paragon has muscled up more through his topline and reaches a bit better into the contact. Her scores now are consistently lower than when she first emerged onto the scene a couple years ago, but this effect comes more from the fact that the judges are no longer blinded by the horse's natural elasticity and shoulder freedom than because the work has gotten weaker. Mostly, the pair is limited by persistent errors. In the Grand Prix, Paragon quit before the first piaffe, so it was executed out of walk five meters past D. The extended walk was ground-covering, but Paragon could have stretched more into the contact. The second piaffe was springy, but almost backward-feeling. The bouncy passage, airy one tempis, and extravagant extended trot should all push more forward from behind.

Saturday's Intermediare A was an odd class to watch. As I noted on Twitter, the class seems not really to cater to success at Medium Tour, but rather to those struggling at getting to Grand Prix. But those riders who aren't ready for Grand Prix don't quite seem ready for the Medium Tour either. The winner of the class was Kelly Lane with Von Primaire, a horse that had already showed at Grand Prix level in CDIs and been decently successful at that. I'm interested to see if the level takes hold more clearly as a locus of real competition in the future. 

Heather Blitz & Paragon in the Grand Prix for Special

Heather Blitz & Paragon's final piaffe in the Grand Prix for Special

Drops of sweat falling from a horse's belly during the Intermediare A on the warm Saturday afternoon.

CDIO Aachen 2014 - Grand Prix Special

Matthias Alexander Rath & Totilas: 84.529%

• Totilas looks better than ever. The trot in the half-passes were amazing, though the half-passes are not absolutely supple in their crossing and the haunches almost trail. The passage was super regular and pushing up off Totilas's hind legs. In extended trot, Rath could ideally have asked for more power from behind, though the strides are not exaggerated in front. The extended walk was striding forward very well, but could have stretched more into the contact. The first piaffe had some backward steps and the second had a couple steps where the stallion was climbing in front. The big two tempis were not quite straight and the improved ones could still have covered more ground. The second pirouette was carried on the hind legs, but turned a bit quickly. The final centerline of passage was incredible, though the piaffe again had a bit of backward tendency. 

Charlotte Dujardin & Valegro: 83.157%

• Valegro has incredible talent for crossing in the half-passes. The wonderfully elastic passage could spring a touch more under from behind in a few stretches. The extended trots were very light in front and powerful. The rhythm of the extended walk has improved, but the strides could still be bigger. The first piaffe was very early and a little forward, but had amazing sit. Charlotte prepared beautifully for the transition from passage to canter, pushing him into the correct bend for the canter lead even as she turned across the arena. The two tempis were beautiful—Valegro jumps fluidly up and forward into each change—and secure, but there was an error in the otherwise spectacular ones on the diagonal. The pirouettes were tiny and controlled. The final passage was the best, but there was a hesitant stride in the transition to the final piaffe. 

Helen Langehanenberg & Damon Hill: 82.078%

• Damon Hill unfortunately lost some points where he normally rakes them in with a stumble in the first extended trot. Sometimes it took Langehanenberg a few strides to get Damon Hill into his spectacular passage. The extended walk was without question the best in the class. In the first two piaffes, Damon Hill was curling a bit and opening his mouth, even though the sit and elevation of his knees was super. The two tempis were round and ground-covering. The extended canter showed beautiful flexibility in the horses body as he took enormous strides. The one tempis on the centerline were a little tight and Damon Hill was not totally balanced coming out of the very collected and active pirouette right. 

Isabell Werth & Bella Rose: 81.51%

• Bella Rose has a bit of a tendency to pull down in the extended trots, though she powers forward with nice long strides. Werth produced in the half pass left unquestionably the best half-pass of the day and the one to the right was also amazing. The passage springs way off the ground. The extended walk was a little slow. Bella Rose pulled down for a couple steps of the piaffe, but Werth brought her up again and she closed a bit more at the base. There is no change in rhythm between piaffe and passage. The canter half-passes were excellent, but the flying change at the end was a bit stilted. In the twos, the mare got a bit too up and down in her movement and there was an error. The expressive ones will score higher when Bella Rose can relax more into them and cover more ground. The first pirouette was beautifully controlled; in the second, Werth slightly lost the haunches. The final line of piaffe and passage was absolutely clean and expressive. The mare's few little errors are not from loss of balance—which sometimes happens with Totilas—but from tension. 

Tinne Vilhemson-Silfvén & Don Auriello: 79.039%

• Don Auriello's extravagant front leg is unfortunately not quite matched behind. In passage, his knees were elevated, but his hind legs were trailing a bit slowly. The trot half-passes were lovely. In extended trot, he could have reached a bit more under behind. The extended walk was a bit stilted. Vilhemson-Silfvén rode piaffes with a high degree of sit, though Don Auriello was minimally active behind. The two tempis were ground-covering, but a bit quiet; the ones, super. The tiny canter pirouettes jumped together a bit behind. The final passage was the best Don Auriello has done with the hind legs coming more up and under. 

Kristina Sprehe & Desperados: 77.765%

• The first of Desperados's super reaching trot extensions did not look quite as elevated in front as it could be. The half-passes were stunning, with the stallion crossing the arena with a flowing trot. The early passage lines were top class. The energetic extended walk looked a little tight in the body. Desperados tripped into the first piaffe and the third turn of passage after the walk was irregular with the horse's haunches swinging out. In the first two piaffes, though Desperados picked his feet way up off the ground, he could have shifted a bit more weight to his haunches. The canter half-passes were fantastic, as were the tempi changes. The canter pirouettes were sitting but quite big. The final extended trot was the best, with Desperados really lifting his shoulder. While final piaffe was the best, the passage leading up to it was so big that it became quite irregular. 

Adeline Cornelissen & Jerich Parzival: 76.216%

• Cornelissen was on today. The extended trots, though flashy in front, were rather short in the neck and the strides behind. The passage lines were ridden with lots of controlled elevation. The half-passes flowed sideways. Cornelissen tried to correct a slightly stuck Parzival into the first piaffe, but he instead canter tensely and no piaffe was shown. The second was spot-on with its rhythm, but still not sitting. Parzivals tempis are incredibly fluid. The final passage was huge, but Parzival was not quite reaching into the contact and bopping his head. 

Laura Graves & Verdades: 74.784%

• Verdades drove powerfully forward in the extended trots. He has a very loose way of going which made for a particularly stunning right half-pass, though at times it means he loses some suspension in the passage. The passage showed lots of elevation in the horse's limbs but it was sometimes a bit too open. The piaffe actively sprang between diagonal pairs, but would have been improved if the hind legs came more under. The canter half-passes were beautifully fluid and uphill. Verdades reached up from the shoulder very well in the tempi changes, but could score even higher if her jumped up and forward a little more. The canter pirouette left was superbly sitting; the one to the right was a hair bigger. The final piaffe was more sitting, but Verdades got a bit crooked as he struggled to hold it. Graves finessed it beautifully into the final line of passage. 

Michael Eilberg & Half Moon Delphi: 74.706%

• The highlight for this combination was without doubt the passage, where the mare lifted way into the air. Delphi gets a little slow in the trot half-passes.  The extended trots are energetic from behind but could be more uphill. The first piaffe was a little heavy in front, the second better. In both, Delphi closed at the base. The change between canter half-passes was not quite clean. The one tempis were nicely engaged, but the ones to the left were slightly bigger than the ones to the right. The pair had an error in the ones on the centerline. The passage on the centerline was stunning and Eilberg's contact was soft. 

Anna Kasprzak & Donnperigonon: 73.941%

• Donnperignon's half-pass left flowed sideways; the one to the right was also very nice but the horse's haunches were trailing a little. The third extended trot was super: uphill, powerful, and reaching. Donnperignon's small piaffes looked quite rhythmical. The two tempis covered the full diagonal, but there was an error in the ones. The extended canter stretched nicely in the back, but needed a little more open frame. The first canter pirouette started very well, but Donnperignon lost some energy in it as he got a bit too high in the neck. Other than a slightly slow transition out of piaffe, the final line was excellent. 

José Daniel Martin Dockx & Grandioso: 73.706%

• Grandioso does not have a hugely scopey trot, but Dockx rode very softly, correctly, and precisely. The passage could carry a bit more from behind. The first piaffe was a little forward, the second more in place. Both stepped neatly up between diagonal pairs. Grandioso swung his haunches some on the two tempis. The ones were very good on the diagonal, but Dockx missed one down the centerline. The transitions in and out of the final piaffe were wonderfully smooth. 

Valentina Truppa & Eremo del Castegno: 73.078%

• Eremo del Castegno is a light-footed and springy mover despite being quite heavy in the body. This made for a super passage, but an extended trot that could have used to push a little more forward. The trot half-passes crossed easily across the arena. Eremo del Castegno showed some resistance in the contact in collected walk, but Truppa picked up a super piaffe—sitting, with lifted knees. The change at the end of the canter half-passes was not clean and Truppa had errors in the twos. The ones started better, but got a bit unbalanced and exaggerated towards the end. There was an error in the tense ones on the centerline. The pirouettes were nicely sitting, but the first lost the haunches slightly and the second had a small rhythm error. The final centerline left a nice impression. 

Adrienne Lyle & Wizard: 72.902%

• Wizard's extended trots are very flashy in from, but he could step more under from behind to lift his shoulders more. The half-passes have excellent elevated crossing. The one to the right could have been more flowing. Wizard's active hind leg produces an energetic passage, though, again, he could come more under behind. The transition to the first piaffe was settled. The piaffes were regular, but looked rather tense in the body. The transitions out of piaffe were better than usual, but Wizard still trailed a hind leg. While the tempis were smooth, they could have been freer in the shoulder. Lyle rode tiny pirouettes. The final passage was the best, with Wizard creating suspension from a carrying hind leg.

Morgan Barbançon & Painted Black: 72.176%

• Painted Black has the potential for extensions to blow the doors off, but the first one was rather quiet. Still, they were nicely matched with even reaching strides in front and behind. The passage was light and easy. The piaffes were good with Painted Black lifting his feet nicely. Each transition in or out, however, had a hesitation or double beat. The stallion jumped forward well in the tempi changes, but was a hair deep in the bridle in them. There was an error in the last of the ones on the centerline. The pair is looking back on form after a long competition break, and there still appears to be room for the stallion to step into a higher gear now that they are back in the swing of things.

Hans Peter Minderhoud & Glock's Flirt: 72.176%

• Flirt has a high-suspension trot and Minderhoud rode very dynamic half-passes. The passage was springy but a bit out behind, especially on the left. Flirt has good reaching trot extensions but Minderhoud holds him too short in the neck to score higher. The piaffe looked more cleanly diagonal than even a few months ago, but it is quite tight in the neck. The changes jump off the ground, but could show a cleaner three beat canter. Minderhoud missed some changes between the pirouettes. The final piaffe was quite forward and the horse got a bit wide in front. 

Marcela Krinke-Susmelj & Smeyer's Molberg: 72.000%

• After a lovely energetic and relaxed entrance, Molberg gave a big spook at the end of the first extended trot. Molberg showed really nice power from behind in the trot tour, though he doesn't have the highest degree of shoulder freedom. The passage was very cleanly rhythmical and easy-looking. The extended walk could have had more reaching strides, but the collected walk was settled. Both piaffes were active enough and regular, but not sitting. Molberg stretched sideways across the arena in his energetic canter half passes. The canter pirouette left was wonderfully controlled but not bent. There wasn't really any bend in the pirouette right either, and the canter rhythm was not as clean. The final centerline was perfect in the beat of the piaffe and passage. Krinke-Susmelj produced a very polished test with a horse that appeared willingly attentive and energetic. 

Lone Bang Larsen & Fitou: 71.667%

• While the extended trots were not super powerful, the passage was elegantly springy. Unfortunately, though it was rhythmical, Fitou had a tendency to step more under with the right hind. The horse sits and steps up very well in piaffe. The two tempis jumped nicely off the ground, but after an error at the beginning of the ones caused them to get a bit flat. The extended canter was sticky. The final line was very good. 

Terhi Stegars & Axis TSF: 71.608%

• This pair had a very smooth and harmonious trot tour. The passage is springy, but sometimes got a bit out behind. The first piaffe did not start quite straight and improved when Stegars got her stallion in alignment. In piaffe, he is nice in the frame, but not very active. The canter half-passes were very good, the tempis were relaxed and expressive. Axis was not totally balanced in rotation in the canter pirouettes. This was a top test for this pair. 

Katja Gevers & Thriller: 71.529%

• Thriller's trot is not the most fluid and the rhythm gets quite quick. The horse springs very much off his hind end in passage. Thriller did lengthen his very short frame nicely in the extensions. The piaffes were pleasant and sitting, and the second was more in place than the first. The change at the end of the canter half-passes was not clean. The tempis were fluid, though Thriller could show more shoulder freedom. The pirouettes were small and uphill. The final piaffe was much more active, with the energy coming very well from behind. 

Lars Petersen & Mariett: 70.843%

• Petersen has quite a nice trot tour with flowing, open extensions. The trot half-passes were slightly earthbound. The passage is rhythmical and elastic. The two tempis were very inconsistent: some were beautiful, some were swinging in the haunches, one was short behind. The ones were lovely. Sometimes Petersen gives the impression that he is the one working hard to hold his mare together and the mare gets her tongue up a bit. The first pirouette turned too quickly, and because the mare was out of balance, Petersen's first aids for the one tempis did not go through. The final line of piaffe and passage was top notch, with the mare showing the most lightness in front.

Mikala Münter Gunderson & My Lady: 70.529%

• This pair's test looked a bit hectic today. The potential was there in the movements, which Münter Gunderson produced with lots of energy, but they didn't give an impression of total harmony. The horse wasnt against her rider, just not settled. In the extended trots mare did not totally carry herself, making for a rough sit for Münter Gunderson. My Lady really lifts her knees and crosses in the half-passes, though they could be more fluid. The passage comes way off the ground, but is not always totally regular. Same for the active piaffe. The canter pirouettes were a bit big.

Jeanna Högberg & Darcia: 70.294%

• Darcia takes nice big strides in the extended trots, but tends to hand on the bridle slightly rather than opening her frame. The half-passes were good in their crossing, but lacked some suspension. The mare's hind leg in passage is super. The piaffes were active, but Darcia pushed too much off her front legs and traveled forward. Darcia changed behind before the beginning of the twos. Högberg controlled the pirouettes beautifully as they turned and the mare stayed active. The final piaffe was not in place at all. 

Claudia Fassaert & Donnerfee: 69.784%

• Donnerfee has a lovely light-footed trot with a hind leg that steps way under. In the extended trots, though, she could also reach more forward in front. In passage, the mares steps get a bit open. The first passage was hesitant and the transition out was weak. The second piaffe was rhythmical but small. The tempis flowed very nicely across the diagonal. The pirouettes were a hair big as the haunches swung out a little in a stride. 

Renate Voglsang & Fabriano: 69.725%

• Voglsang rode Fabriano on a very light contact in a frame that was a bit too open. The stallion tracked up very well in his ground-covering extended trot. The piaffe was airborne, but a bit too forward much of the time. The first piaffe had a step backwards and Fabriano closes at the base by getting heavy in front, rather than sitting. There was an error in the twos, which could have been more on the hind leg overall. The ones were more uphill. The canter pirouettes needed to come up more in front.

Marlies van Baalen & Miciano: 68.529%

• Miciano showed rather pony-like extended trots that were short in the bridle. The horse comes war under himself behind in passage and really lifts his knees. The half-passes were very good, though the trot before and after was rather hectic. Though Miciano brings his croup under for the piaffe, he struggles to find a rhythm. The canter half-passes had a very quick rhythm. Van Baalen has an error in the ones on the centerline. The pirouettes were nicely on the haunches. 

David Marcus & Chrevi's Capital: 67.843%

• Capital has nice reaching extended trots, though the rhythm of them wass not totally secure. The half-pass right was not quite parallel. The passage was nicely uphill. Marcus had a resistance from Capital leading into the second passage, which, though it had more elevation and energy than the first, was a bit against the hand. The scores in the canter tour are limited by the poor beat of Capital's collected canter. The tempis were straight and airy, though there was an error in the ones on the centerline. The first pirouette was small but unbalanced, the second very good. After the last piaffe at X, the passage was nicely elevated. 

Julie de Deken & Lucky Dance: 66.490%

• De Deken had a very pleasant trot tour, but throughout, the horse could have come more onto his haunches and moved with a bit more power. This weakness also applied to the passage. The transition into the first passage stepped forward instead of up and de Deken could not prevent it from traveling several meters forward. The one tempis were a bit hectic and there was an error in the series on the centerline. The good final passage had more suspended elevation. 

José Antonio Garcia Mena & Norte Lovera: 65.216%

• This horse has a lovely extended trot, really reaching up and out in front. The crossing in the half-pass left was a bit restricted. When the passage was good, Norte Lovera was springy and almost brought his knees to his muzzle, but he often broke into canter or lost the rhythm. There was no second piaffe as the horse cantered out of passage right past the centerline. There were errors in the twos and the ones, which was a shame because the horse showed very nice uphill strides in them. The canter pirouettes were small . Unfortunately after the early mistakes in passage, the other work started to look unsettled. The final piaffe was a little forward but otherwise really super.

Caroline Roffman & Her Highness O: 61.314%

• Her Highness is quite restricted behind in extended trot. The passage gave the appearance of lots of elevation, but there were a few double-beats behind. The transition from collected walk to piaffe was hesitant, though the first piaffe was more settled than the second. The nice picture of the two tempis was marred by tension; the ones were rather short and hurried. The mare broke in the second pirouette and then there was a rhythm error in the final extended trot. The over-cooked mare then resisted by traveling several meters sideways. In general, the picture for this mare could be more fluid and less intensely mechanical.

USEF Festival of Champions 2014 - Grand Prix

The top three of the Grand Prix (L to R): Jan Ebeling and Rafalca, Steffen Peters and Legolas, Tina Konyot and Calecto V

Steffen Peters & Legolas

There were no surprises when Steffen Peters and Legolas pulled off the first victory of the Festival of Champions big tour (75.160%). The contact with the bridle was much more consistent, though Legolas still bobs his head down towards his chest at times. The extended trots were nicely evenly matched in the striding in front and behind, but Legolas still needed more reach and suspension in them. The piaffe and passage is extremely light and springy, though some of that spring could push more forward than up in the passage. They were both quite regular. There was plenty of overtrack in the slightly slow extended walk. There were mistakes in the two tempis. In the canter half-passes, Legolas could step more under behind. The one tempis were clean, but get a bit flat footed instead of big round strides. The final line of piaffe and passage was effortless and light in front.

Jan Ebeling & Rafalca

Jan Ebeling & Rafalca

Second with a impressively well-ridden test was Jan Ebeling and Rafalca (73.320%). With finesse, Ebeling seemed to eke out every possible point—it was a delight to watch. Rafalca does not have a naturally big, elastic trot, but the half-passes had lovely swinging crossing. The piaffe-passage transitions were consistently very good. Ebeling had to work to maintain the elevation of the passage, and sometimes the power would be lost for a step. The piaffes were absolutely regular and in place and sitting. Another highlight was the fluid and uphill two tempis. Rafalca's balance in the canter zig-zag was excellent, though the canter got a bit flat. The pair's uphill canter pirouettes could have had a hair more jump to them. The engagement in the final passage was super.

Jan Ebeling & Rafalca with a very nice final centerline.

Tina Konyot & Calecto V

Tina Konyot and Calecto V narrowly pulled off third (72.620%). Though the basic trot tour was rather weak—the extended trots were limited and the half-passes had lots of crossing, but not enough power—the piaffe and passage were strong. Konyot kept Calecto's extremely bouncy and powerful passage nicely regular, though it would score even higher if he carried more of his weight behind in each step. The two tempis and extended canter were super. The zig-zag was uphill and powerful. Calecto lost some impulsion in the one tempis and became a little close behind in a few of them. The pirouettes were tiny and Konyot had Calecto sitting beautifully in them. The final piaffe-passage transitions were, unfortunately, not quite clean.

Adrienne Lyle & Wizard

Incredibly, there was a three way tie for fourth between Adrienne Lyle, Caroline Roffman, and surprise of the show Laura Graves (72.540%). Lyle's Wizard is in good form these days with a much smoother test—he has always been powerful and eye-catching. In the first halt, Wizard stood a bit out behind with a leg resting. The extended trots had lots of shoulder freedom and expression in front, though Wizard could reach more underneath himself behind. Lyle got Wizard very nicely compressed and uphill in the trot half-passes and he reaches well sideways in each stride. The collected walk was slightly irregular. The passage was powerful, but with slightly more elevation in the left front than the right. The two tempis were wonderfully uphill, though one was close behind. There was an error in the twos. The final line of piaffe and passage was impressively expressive.

Caroline Roffman & Her Highness O

As a newcomer to Grand Prix level, Her Highness O under Caroline Roffman still looks a bit over-
faced: though the movements are of quite good quality, they are executed with a lot of tension, including a frequently curled lip. The extended trots were very floaty, but needed more overtrack. In the half-passes, the trot got a bit quick, but Roffman rode them with excellent bend and crossing. While the passage had lots of elevation, the mare could engage her hind legs more underneath herself in it. She also occasionally becomes irregular, reaching forward with a front leg, rather than merely elevating her knees. The piaffes were sitting, springy, and regular. Roffman rode a bold and uphill extended canter. The one tempi changes could cover more ground. The first canter pirouette was uphill, the second less so, and both were active and small. The piaffe-passage transitions on the final centerline were very good.

Laura Graves & Verdades

Caroline Roffman & Her Highness O

Laura Graves and Verdades started their test had an excellent trot tour with high power extensions and lots of reach sideways in the half-passes. The first passage could have been a bit more elevated and collected, the second was better. The passage was very regular and the rhythm was uninterrupted into the powerful piaffe. The transition up to collected canter was super. The one tempis could have jumped a touch more uphill and forward. The canter rhythm of the pirouettes was excellent, though both the pirouettes and piaffe would have been even better with a bit more sit. The horse is a powerful and rangy mover, and Graves piloted him beautifully through the test with her soft and upright seat.

In seventh place was Lisa Wilcox and Denzello (72.220%). Wilcox rode a very polished Grand Prix, though the contact was a bit hard sometimes, causing Denzello's mouth to come open. The crossing in the trot half-passes was excellent, but became just barely irregular for a few steps. The extended trot was ground-covering with power from behind. Denzello sat superbly in the piaffes with plenty of expression. The very regular passage could travel a bit more forward. Denzello showed no two tempis (just a few random ones). The one tempis pushed off stiff hind legs. Their final centerline was very impressive.

Lisa Wilcox & Denzello

Shelly Francis and Doktor on their final centerline.

Shelly Francis & Doktor

Kathleen Raine & Breanna

Shelly Francis and Doktor pulled into eighth place (71.800%). Doktor is quite a small, compact horse and gets rather tense, but he is also quite a powerhouse. Francis rode him quite uphill, but requiring lots of little half-halts that weren't quite smooth and disrupted Doktor's rhythm at times. The extended walk needed to step more actively into the bridle. Doktor got so closed at the base in the second piaffe that it almost developed a backwards tendency. The passage was high-stepping, though Francis lost it a few strides before the transition to canter. They had a small error at the end of the two tempis. Overall, the canter work was good quality, though the collected canter in general could be a little rounder in its strides. The final piaffe and passage was top class, with Doktor regularly and willingly pushing off the ground.

Kathleen Raine had a very nice test with Breanna (71.460%). Raine rode the mare beautifully into the bridle. Breanna was consistently quiet in the mouth, and Raine kept her long neck sufficiently open at the throat-latch. The trot half-passes lost some of their push from behind. Breanna's regular passage had lots of engagement behind, though it could have had a bit more elevation in front. The extended walk did not reach quite enough under behind. In the zig-zag, the canter half-passes traveled well across the centerline. The first canter pirouette was a little fixed behind and Breanna broke from the canter for a stride in the second.

The highlight of Arlene Page and Alina's test (70.920%) was definitely the passage, regular with beautifully lifted knees. The crossing in the half-passes was superior, but it came at the expense of some of the trot's suspension. Alina takes lovely long strides in the extended trot. The transitions out of piaffe were weak. The ones were uphill with nice shoulder freedom. Alina's canter pirouettes were sitting, but lost some jump at the end. A similar issue plagued the last piaffe, which was sitting and diagonal, but a bit earthbound.

Katherine Bateson-Chandler and Wellnetta give a nice impression of quality, but their test had too many errors for the pair to score higher (69.820%). The trot half-passes were nicely swinging. The first passage needed a slightly more collected elevation. Wellnetta's piaffe was regular, but crept forward slightly. The mare tripped into the collected canter. The pair had an error at the end of her round two tempis. Bateson-Chandler kept Wellnetta consistently uphill in the canter zig-zag. The one tempis were big, but the mare swung her croup slightly. At times, the mare climbed a bit in the bridle, pushing out her under neck, though she never became truly braced or hard in the mouth.

Sharon McCusker's mount Wrigley is a lively mover, but needs to develop a little more power (68.940%). The extended trots had a lovely open frame and plenty of overtrack and reach in front. Wrigley was a little resistant in his movement sideways for the trot half-passes. The extended walk was active and long-strided. The

Sharon McCusker & Wrigley

regular second piaffe drifted to the right and lost a little energy before the transition out, making the transition less clean. The tempis were very good, with Wrigley stepping way underneath himself. The zig-zag was laboured. The canter pirouettes were small, but not wholly balanced in turning.

Cesar Parra & Van the Man

Charlotte Jorst & Nintendo

Cesar Parra's Van the Man is a powerful horse, but Parra seemed not yet to have figured out how to focus his ability (68.360%). The horse got quite sticky in the trot half-passes. The extended walk was restricted in the back, limiting the overtrack. The piaffe had nice sit, regularity and spring. In the canter zig-zag, Van the Man became a bit short in the neck—creeping above the bit—and a bit low in the shoulder. The horse fell into cross-canter in the pirouette left. The final piaffe was super in place, but again the horse was coming slightly above the bit.

Charlotte Jorst had her hands full with a rather jazzed up Nintendo (67.780%), who had a tendency to get rather short and high in his neck and off the contact. The trot work was a little hurried. The extended trot was noticeably tense, lacking the required stretch. The piaffe and passage were regular with easy transitions between them, though Nintendo should come more under behind. A few passage strides before the canter lost a bit of elevation. There were a couple of errors behind in the one tempis.

Michael Barisone & Ellegria

Michael Barisone was the only rider with two horses in the Grand Prix: Ellegria (67.540%) and HF Victor (66.700%). Barisone's riding was quite nice, but both horses are rather small, light chestnuts without the natural presence that makes for an international quality horse. Ellegria was quite hard in her mouth, which was frequently open. The trot half-passes got a bit quick, but had nice shoulder freedom. The extended walk had nice overtrack, but the mare got a bit deep in the bridle. The passage did not have the best elevation and got quite flat before the canter transition. The tempis were decently expressive. Ellegria stepped under well in the canter zig-zag, but should have been a bit more uphill. The final piaffe was correctly in place and quite light in front, though Barisone had to work quite hard to keep it going.

Like Ellegria, HF Victor could have been more consistently up and closed in his frame. HF Victor was a little resistant to the bend and sideways movement during the trot half-passes. The horse has a nice tendency to sit in the piaffe, though he could not consistently carry his weight. The transition up to canter was not quite clean. The extended canter was safe, the ones rather straight-legged. Barisone rode nicely round and uphill canter pirouettes.






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USEF Festival of Champions 2014 - Prix St. Georges

            In the first class of the USEF Festival of Champions, Steffen Peters won the Prix St. George with Rosamunde on 75.974%. She is a fluid and light-footed mover with plenty of power. Peters rides her very nicely into a soft consistent contact. The trot work was very good with lots of suspension, though the young mare is still a touch slow in her rhythm. The walk pirouettes leaned a little to the inside. In the canter half-passes, Rosamunde was stepping well underneath herself and pushing strongly sideways. The left canter half-pirouette was more uphill than the right, though the one to the right was more balanced as it turned. In the tempis, the changes to the left were a hair restricted, but both were big and beautiful. This is a lovely mare for the future.

            Steffen also finished second on his student Brandi Roenick’s mare Apassionata with 72.921%. Peters also keeps a soft contact with this mare, but it is less consistent, with the reins sometimes getting a bit of a loop in them. In trot, Apassionata’s gait sometimes gets a bit mechanical and she flicks her toes in front. This tendency went away in the trot half-passes, though she was almost out behind. The shoulder-ins flowed nicely. The canter pirouettes were tiny and active, but could become more uphill. In general, the mare could be more consistently up in the shoulder.

   Third was Olivia Lagoy-Weltz on Rassing’s Lonoir, a bay with lots of presence in the arena (72.211%). The horse has a lovely uphill frame without getting tight in the bridle, though there were a few moments where he tilted his head a little in the bend. In the lovely half-passes the trot almost got too passage-y. Lagoy-Weltz’s kept the canter pirouettes small and balanced. The tempis could have jumped more forward, but Rassing’s Lonoir had excellent uphill spring.

            Fourth went to Elizabeth Ball on Avanti (70.947%). Ball rode her test really boldly, though at times this resulted to a number of small losses of balance. The first big extended trot was a tiny bit unsteady in the contact. Ball rode the voltes very nicely, maintaining the energy of Avanti’s trot without any loss of balance. The canter half-pirouettes were a bit big—a smart move to keep the energy of the canter—and the single flying changes after had lots of expression.

            Kimberly Herslow and Rosmarin finished in fifth (70.816%). Herslow and Rosmarin make a lovely harmonious picture, but with the jump to the big tour in their future, they need to start showing a little more dynamism in their tests. After their initial halt, Rosmarin was pulling down a bit in the bridle, but Herslow lifted him up for an excellent trot extension with lots of shoulder-freedom and overtrack. The trot became a little slow in the lateral work and the gelding dove down a little in the voltes. The canter pirouettes were tiny and Rosmarin could really sit, but they needed a bit more jump. Though there was an error at the end of the extended canter, it was uphill and impressive.

Kasey Perry & Goerklintgaards Dublet (70.605%)

This horse has a super active hindleg, with no changes in rhythm or uphill tendency in at any point in the trot work. The walk pirouettes were unbalanced. While the canter half-passes got a bit out behind, the second pirouette developed too much sit, and the horse broke coming out of it. The flying changes had lots of expression.

Dawn White-O’Connor & Aristo (69.895)

White-O’Connor has a lovely seat and rode a high-energy test, though Aristo tended to be a bit off the bridle—the contact was a bit too light. The shoulder-in had good swinging crossing. Aristo drove forward powerfully in the extended trot, but should have been a little more elevated in front. The walk pirouettes were big. The tempi changes were huge and effortless.

Heather Mason & Zar (69.289)

After collapsing into the first halt, Mason put together a nice energetic and powerful test. The extended trot was ground-covering, though it could have been a bit more up in the shoulder, a recurring minor issue. Zar also had a tendency to push his under-neck out just a hair. The lateral work in trot was super fluid. The canter pirouettes were small, though Zar could have been a bit quicker behind.

Melissa Jackson & Whirlpool (69.263)

Jackson rode Whirlpool in a slightly too open and low a frame, with the horse sometimes pulling down in the bridle. The trot work was absolutely rhythmical throughout. The extended trot reached forward well in front, but could have had a hair more overtrack. The collected walk was a little sleepy. It was a shame that Jackson had a small error at the beginning of the three-tempis, since the rest of the changes were consistently ground-covering.

Nick Wagman & Zenith (68.579)

Though there were a few irregular steps in the first extended trot, and Zenith had a bit of an inclination to pull down in the bridle, the horse’s strides had lots of power and shoulder-freedom. Zenith steps under very well behind in the trot work. There was a stride in the canter pirouette left where the horse changed behind. The work overall was of quite high quality, but the picture would have been slightly nicer if Wagman had appeared to be working a little less hard.

 

Christopher Hickey & Ronaldo (68.263)

Ronaldo had a number of small irregularities in the trot work as Hickey half-halted to maintain the elevation in the horse’s gaits. Ronaldo tripped in the first extended trot, taking several strides to regain his balance. The trot half-passes had lovely bend and crossing. The extended walk needed more overtrack. The change between canter half-passes was late behind. Ronaldo lost the canter in the half-pirouette left. The final extended canter was really bold and uphill. Though Ronaldo moved nicely forward and fluidly, there were too many mistakes for a top score.

Alix Szepesi & Majco Thunders Hattrick (67.895)

This Knabstrupper is not the most powerful mover, but Szepesi has trained him in such a nice classical way that he scores well and is a delight to watch. The extended trot needed more drive from behind. The voltes were well balanced, without the haunches swinging wide. The walk pirouettes were small and active, though the one to the right got a bit heavy in front. There was only one error in the test: a step of cross canter at the end of the pirouette right.

 

Jackie Ahl-Eckhaus & Wisdom MVS (67.289)

Wisdom moves a little heavy on his feet and not super uphill, giving Ahl-Eckhaus a bit of a challenge keeping consistent suspension in his gaits, but she did a nice job producing power. The horse pulled down a bit in the bridle in the canter half-pass. The canter half-pirouettes were small with the horse carrying himself nicely on his haunches. In the tempis, Wisdom could have pushed more a little more forward in each stride.

Charlotte Jorst & Vitalis (67.263)

Vitalis stands out with his huge gaits—no surprise. He moves very well underneath himself allowing him to move with elevation and shoulder freedom, but he was just too tense and tight in work to get a top score. The trot work was pretty impressive, but Vitalis was not using himself to his full potential in the canter. There were errors in the flying changes between canter half-passes and after the first canter pirouette. In the pirouettes, the young stallion got a bit deep in the bridle. There was an error in the four-tempis, and the tempis overall got a bit stuck and croup-high.

 

Angela Jackson & Allure S (66.763)

Jackson rode Allure nicely in the bridle, but though the work was correct all the way through, it was a bit flat. Jackson needed quite a bit more drive from behind in the extended trots.  The horse got a little close behind in canter for a few changes and at the end of the pirouette right. The half-pirouettes were a little big, but kept an active canter.

Sara Spofford-Bilinski & Lagrima (66.579)

Spofford-Bilinski rode a pleasant mistake-free test. Lagrima became a bit downhill in the voltes, but came up nicely and shortened in the frame for the trot-half-passes. In collected walk, the horse was a bit too open in the frame. The canter half-passes had nice bend and decent crossing, the tempis were nicely forward, but in general the canter was bit flat.

Justin Hardin & Wyatt Star (66.447)

The trot work of this combination was quite nice, but the walk and canter were weaker today. The shoulder-ins has nice flow, but Wyatt Star became a bit croup-high and tight behind the saddle in the half-passes. The gelding pulled out of the walk pirouettes. The canter rhythm was frequently not pure, getting quite heavy on the leading foreleg. There was plenty of uphill reach in the tempis, but unfortunately there was a mistake in the threes.

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