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| The medalists! |
Isabell Werth has the most incredible focus and determination and rides for every step on every horse without pressure. Weihegold is not the most supple in the topline, but Werth gives her time to move, especially in the extended trots and half-passes. The half-pass right today was the best the mare has done. The passage pings off the ground in each step with ease and was very regular today. The extended walk did not have the most overtrack, but Werth has Weihegold really striding out into the bridle. The transition from walk to piaffe was excellent, and the mare really sat in the piaffe. Unfortunately, she built up some tension before the second piaffe and pulled down in the bridle in it. The canter half-passes were not the most supple, but were super uphill. The twos were ground-covering, the ones a tiny bit short. The canter overall today moved more forward and less up-and-down. The canter pirouettes were not the most up in the shoulder, but were still well-carried on the hind end in a controlled rhythm. The final passage had super engagement behind and the mare was beautifully up in the bridle.
Other than the one mistake, Charlotte Dujardin's test on Valegro was so easy to praise. The trot-extension balanced reaching strides with a lovely pushing hindleg. Dujardin has the same unfortunate communication error as Steffen Peters with a canter at the beginning of the first trot half-pass, which was enough to put them in second behind a fault free Werth. But she nailed the second half-pass. The passage steps were so softly elevated. Dujardin rode Valegro beautifully into a marching extended walk, even though it doesn't have the most overtrack. The first piaffe crept forward, but was so sitting and beautifully active. The second was also sitting, though not quite as quick as it has been. The canter half-passes were amazing, moving easily sideways with a canter that was so over the back. The tempis are off the hindleg in every stride. Valegro opens up his back for the extended canter, and shortened again with ease. Both pirouettes were small and uphill and so well controlled. The final centerline was super with the hindlegs supporting beautiful elevation in the passage and Dujardin half-halting seamlessly into a classical piaffe.
Dorothee Schneider's quiet forward ride did a beautiful job showing off Showtime. In extended trot, Showtime stepped way under himself and pushed really postively through the whole way with his hindleg. Though Schneider gave him plenty of rein, he didn't really open his neck in the extensions. The passage came way off the ground and the trot half-passes powered across the arena with ease. The extended walk showed huge overtrack, but had little stretch and was slow to develop. The piaffe out of the walk was really sitting, but the transition out was not quite clean. The tempis got slightly hurried as Schneider pushed them forward to cover ground. The first canter pirouette was tiny and sitting, though it wasn't really bent and the last step was close behind. The second pirouette was rushed. In the lovely expressive final line, Showtime could have stepped a bit more under himself.
Laura Graves started on a really dynamic extended trot, setting the tone for the test. And though Verdades was still a little short in the neck in it, he has developed a lot of suspension. The passage was electric without be frantic, with Graves appearing just to direct Verdades while he motivated himself in the work. She has such a beautiful seat that just allows him to move under her to his full potential. The extended walk needed more stretch and energy. The transition to piaffe wasn't clean and the first piaffe was a little out behind. The second was a bit better, though Verdades could still rotate his croup down more to close at the base. Verdades lateral flexibility in the canter half-passes was amazing. The two tempis were uphill and smooth with super shoulder freedom, the ones even better. The first canter pirouette was amazingly tiny and sitting, but Verdades lost his balance a little at the end of the second one. Their final centerline was spot-on until a little stutter step before the final halt. Graves has a bronze medal within her reach if she rides like that again for the Kur.
Kristina Bröring-Sprehe has developed such a lovely light open frame in Desperados' work that makes the difficult movements seem so easy. For me, the thing that always interrupts the picture is minor inaccuracies like the rhythm bobble before the first extended trot and the haunches that swing around like a boat in passage instead of truly following the front leg. The passage is so free and springy throughout, even though occasionally an irregularity sneaks in. The extended walk was super. The transition from collected walk to piaffe was messy and Desperados never found a clear diagonal beat in it. The second piaffe was fantastic, though. The canter half-passes were expressive. The tempis jump way off the ground and are uphill, but are not as fluid as some of the other top horses. The placement of neither canter pirouette was perfect, but Desperados sat incredibly while maintaining the canter. On the final centerline, Desperados was stepping more under himself with the left hind than the right, but still lifted himself way off the ground.
Carl Hester & Nip Tuck
Hester cleverly rides Nip Tuck in quite a slow rhythm to give his slightly out hindleg a change to keep up. The trot extensions have reach, but Nip Tuck can't quite get his hindleg under himself as well as he should. The trot half-passes were stunning, with the gelding becoming really elevated in front and reaching over to step across the arena. The passage is elevated, even if some steps are a little long in the frame. The transition to piaffe was seamless, with the horse just sitting down into the rhythm. The transition out was a little weak, however. And where Bröring-Sprehe drifts through corners, Hester quietly manages every step, keeping the hindlegs under and the energy pushing into the bridle. The ones were so smooth and uphill. The pirouettes weren't very elevated in front, and got a bit big, but Hester kept the canter going in them. The last extended trot was particularly flat in the back, and it took a few meters of the centerline for Hester to get Nip Tuck put together. But when he did, the passage was beautiful.
Steffen Peter & Legolas 92
Despite the fact that Legolas is really reticent to open up his back in the trot extensions, Peters got him to cover quite a bit of ground. The pair had an unfortunate break at the beginning of the trot half-passes. Peters nailed the one to the right however, with Legolas really crossing. The passage was very regular without any snatching hindlegs (as Legolas sometimes does). The third extended trot was a little underpowered. The extended walk had good overtrack, but didn't really stretch from behind into the bit. Legolas flat out refused to piaffe for several steps out of the walk, but when it happened it was gorgeous and sitting. The second piaffe was superbly springy, with effortless transitions in and out. The canter half-passes didn't show much expression, though the one to the left was better than the one to the right. The twos looked very laboured, but they were clean and took up the centerline. The ones were uphill, though small and flat. Peters really rode for the extended canter, picking up some needed big marks. Though neither the pirouettes nor ones on the centerline were super uphill, the ones were forward and the pirouettes small. The piaffe and passage on the final line was incredible: so lofty and smooth.
Fiona Bigwood & Orthilia
Orthilia is a super mover with such talent, but her sensitivity makes her often just the tiniest bit behind the leg as Bigwood seems to hesitate to add leg to avoid disturbing the mare. It is impressively finessed riding, though. Orthilia's mouth was wide open in the extended trot and the hind leg needed to step more under to support the huge reach of her front leg. The mare's passage had easy suspension, but could cover a little more ground at times. Both trot half-passes seemed to float across the arena. The extended walk was beautifully soft in the back with ample overtrack. In the first piaffe, the mare drifted forward quite a bit and in the second, she got too light in front as Bigwood tried to keep her in place, and the little resistance showed with a quite open mouth. Bigwood, however, managed to settle the horse back for the passage. There were a couple minor errors in the twos and an early one tempi looked short behind. The extended canter took big soft strides. Other than a little tension in the pirouettes, the line of pirouettes and tempis was stunning. Though Orthilia could have been a bit more up into the bridle, the final line showed really beautiful piaffe and passage
Kasey Perry-Glass & Dublet
Dublet must be extremely sensitive in the mouth because though Perry-Glass's hands hardly moved, the horse showed the tongue several times. Dublet has an extended trot where the hindlegs push him more off the ground than forward. In the otherwise fluid trot half-pass left, the tongue showed for a couple steps and then in the next extended trot, the horse broke into canter. The trot half-pass right moved elastically sideways, but needed a bit more bend. Dublet's passage sprang nicely up an forward, though there was the occasional double-beat behind. The piaffe out of the walk inched forward a little, but Dublet really sat and bounced off the ground. The transition to canter was not quite clean. Again in the canter half-passes, the horse could have been a bit more supple. The two-tempis were lovely and uphill with a smooth canter carrying them across the diagonal. The ones were very good as well. The ones between pirouettes were dead straight. Both pirouettes were sitting, though Dublet trailed a hindleg at the end of the second one. Dublet is so round in the back in the passage and piaffe on the final centerline and could just be a hair more open in the frame to improve the picture even more.
Spencer Wilton & Supernova
In extended trot, Supernova had lots of power, but the frame stays short. The trot half-pass left was in lovely bend and Supernova really reached across the arena. The horse shined in the passage, which had so much lift. The horse did not really stretch out in the extended walk, but the overtrack was good. Wilton really struggled to get Supernova into piaffe, with the horse looking like he wanted to just run a bit through his hand, but the second piaffe came through in rhythm. The canter half-passes were a little flat. The tempi changes jumped way off the ground, but not as much forward, and one of the early ones was short behind. The extended canter had limited reach and the change at the end cause Wilton some problems. The pirouettes were sitting and active, but the first was big and the second not placed around the haunches. The passage on the final line looked good, but like Alison Brock's Rosevelt, Supernova looked ready to stop in the piaffe.
Sönke Rothenberger & Cosmo
Cosmo just floats across the diagonal, taking huge strides and still hitting the ground with the softest footfalls. The gelding could open up a tiny bit more in the frame in extennded trot. Again, Rothenberger was having a little trouble steering away from the boards, but the whole picture was super. The passage appeared effortless. Cosmo really steps underneath himself to power each step. The extended walk was slightly hurried and Cosmo shuffled into a piaffe that never quite found its rhythm. The second piaffe traveled forward a couple of meters, though the beat was well-matched with the passage. The canter half-passes had not only a huge bubbly canter, but pushed sideways with ease. There was an error at the beginning of the twos and overall they jumped more up than forward. The ones were looking more forward, but again Rothenberger had an error in them. The first canter pirouette was a hair to big, but the beat of the canter was excellent. The second was a big rushed. The final line was lovely, with Cosmo getting just a tiny tiny too bit open in the topline.
Allison Brock and Rosevelt
Rosevelt has a very strong extended trot with a lot of power carried by a hindleg that moves way underneath his body. The passage is springy enough, but here Rosevelt could often carry a bit more, as his hindlegs remain on the ground for a little long and he is a little slow to bring them forward. The trot half-passes were good in both directions. Brock kept her horse up in the bridle with the nose out throughout the trot work. The extended walk has tons of overstep and Rosevelt really reached out for the bit. The piaffe out of the collected walk was quite flat in the back and the horse nods his head a tiny bit trying to find his balance. Brock lost the passage quality coming up to the canter transition. The canter in the flying changes was a little straight-legged, but the stallion pushed forward nicely in them, especially in the twos. The extended canter was really well ridden: Brock pushed for a big extension and brought it back very quietly. The first of the ones on the centerline was a tiny bit close behind. The second pirouette was more uphill and in a better canter compared to the first. Rosevelt unfortunately lost a little steam in the piaffe at X, but Brock kept him going and ended with very good passage.
Karen Tebar & Don Luis
Tebar is such a lovely subtle rider who really allows her delicate-moving horse to shine. The first extended trot was a bit conservative, but the horse still stumbled in it. The trot half-pass left needed a bit bolder pace. Don Luis' passage is really on the hindleg with every step the same. The transitions from passage to extended trot are precise and quiet, though the extended trot itself does not have the most range. The extended walk was wonderful. Don Luis anticipated the piaffe a bit in the collected walk and the piaffe was not very in place. Still, both piaffes stepped softly up between diagonal pairs. The canter half-passes were not particularly supple or honest in the bend. Tebar's aids for the twos were invisible, not interfering with her horse's movement at all, though she had a counting error in the middle. The first pirouette was well collected and uphill, while the second was quite flat.
Inessa Merkulova & Mister X
This is such an incredibly talented horse that is so obedient in the movements that it's a shame that Merkulova's rather weak seat and strong hand occasionally mess with the overall picture, especially in the otherwise impressive extended trots. The trot half-passes did not show the most supple, willing crossing. The passage was absolutely wonderful, with the talented Mister X bringing his forearms almost to the horizontal without frantically snapping them up. The extended walk had very good stretch and overtrack. The piaffe bounced way off the ground, but crept forward quite a bit.The transition from passage to canter was settled. Merkulova went off course, starting the twos instead of the canter half-passes, but hopefully it isn't infectious as it was at the European Championships a few years ago. The easy twos jumped across the whole centerline, with just a tiny bit of swing to the haunches. The canter pirouettes were really sitting but on the big side. In the ones on the centerline, Merkulova got way in front of the veritcal, causing her horse to fall a bit on the forehand in them. There was a rhythm bobble in the final extended trot, but the centerline to the final halt was absolutely stunning.
Severo Jesus Jurado Lopez & Lorenzo
Lorenzo is a horse who looks so bright eyed in his work, like little is a strain. The extended trots were big and reached across the diagonal in a very easy way. Lorenzo really crosses in the trot half-passes because he is so supple in his way of going. The passage has plenty of air-time, but could be rocked back a bit more on the haunches. The extended walk was nice and the collected walk had good overtrack, even though it got a tiny bit lateral. The first piaffe was slow to develop, but hit a nice bouncy beat by the end, though it was still slightly wide in front. Jurado Lopez didn't time the change at the end of the canter half-passes quite right, so it was not clean. The tempis had scope, but weren't the straightest. Both canter pirouettes were uphill, but also a bit. The final extended trot was gorgeous.
Beatriz Ferrer Salat & Delgado
Though Delgado is not the most supple in the back in his work, Ferrer Salat rides him in the softest frame that is consistently up and quietly into the contact. The half-pass right was flowed across the arena with beautiful suppleness. Delgado has a lot of suspension in the passage, though occasionally he pushes his weight a little far over his front legs. In extended trot, he produces so much ground-cover from a strong hindleg, though it is slightly mechanical. The passage and piaffe after the walk were lovely and soft with a consistent rhythm in every step and very good sit in the piaffe. The twos are not the straightest, as Delgado jumps a bit from side to side as well as up and forward in them. The haunches led slightly in the canter pirouettes. The final line was lovely except for a couple slighly small steps at the beginning of the piaffe.
Anna Kasprzak & Donnperignon
Despite being super supple in the neck, Donnperignon was not very obedient in the body bend for the trot half-passes. The passage had lots of suspension, but Donnperignon could reach better into the bridle in it. The extended trots have lots of drive from behind without being rushed. The collected walk into the piaffe was tense, but the piaffe was one of the most active the horse has done in a test. In the second, Kasprzak couldn't quite get the rhythm. In the both lines of tempis, Donnperignon jumped beautifully up and forward in each stride. The extended canter was lovely and so were the pirouettes, a consistent highlight for these two. At times, the horse opens his mouth and brings up his tongue even though Kasprzak does not have harsh hands.
Tinne Vilhelmsen-Silfvén & Don Auriello
Vilhelmsen-Silfvén has a real talent in riding this horse every day in a way that is both sweet and expressive. The trot help-pass right crossed with more suppleness. The less forward Vilhelmsen-Silfvén made the passage, the less Don Auriello dragged his toes, unfortunately meaning she couldn't really win either way. In piaffe, Don Auriello doesn't lift his hind legs much, but he really rotated his croup down.The canter half-passes were slightly flat. The lovely uphill twos could have had a bit more jump; the ones were not quite ground-covering enough. Unlike the big-striding extended canter. The centerline of canter pirouettes and ones was so smooth and harmonious. In the final extended trot, Don Auriello kept his flat hindleg really stepping under.
Hans Peter Minderhoud & Johnson
Johnson looks a little stronger today, tense but a little less frenetic. Still, Minderhoud struggles at times to direct Johnson's energy forward rather than up and down. The trot work is so well-matched in front and behind. The passage is expressive, but sometimes swings a little instead of directing that power totally straight and the steps behind are sometimes bigger and smaller. Johnson got a little deep in the bridle in the passage before the canter and then leapt forward in the transition. The canter half-passes were super. The extended canter was big, but a little rushed, so the transition back to collected canter was a bit braced. Johnson crossed his legs a bit in the passage on the final centerline, but it was the best passage because the expression was the most relaxed and directed forward.
Catherine Dufour & Cassidy
Dufour's real strength with this horse is keeping him uphill and pushing into the contact in every step. In extended trot, the horse is really able to reach in front not because he has an amazing front leg, but because he is carrying the energy behind. Occasionally Cassidy gets a tiny bit out behind in passage, but Dufour mostly keeps him springing up and forward. The extended walk had huge overtrack and Dufour kept the walk clean right up into piaffe. The piaffe itself was not quite rhythmical, but it was in place and obedient. The canter half-passes were super, in correct bend with an expressive canter. Both pirouettes were small with an with plenty of jump in an uphill canter, but Dufour missed a couple ones. The final piaffe was small, but straight and the passage lovely.
Patrik Kittel & Deja
Kittel really showed his mare off today and she is starting to look really comfortable in the Grand Prix movements, especially staying more consistently up in the frame. The trot half-passes weren't quite regular, with Deja floating the leading front leg. Kittel got fantastic extended trots with lots of power from behind, though the rhythm could be a touch slower. The pasage has easy lift, though at times Deja gets a bit short behind. Kittel had an unfortunate break to canter before the third extension. The walk work was lovely, though the piaffe out of the walk was weak. The second piaffe was better, though Deja pushes back and forth between her front legs to stay in place. The canter half-passes were lovely, but the change at the end was a bit short. The tempis were expressive, but Kittel holds the contact a bit to get them, causing the mare to get a bit deep. The line of canter pirouettes and one tempis was beautiful, with nicely managed pirouettes and smooth tempis.
Diederik van Silfhout & Arlando
This test is a bit of a mixed bag for Arlando, with him showing his strength in a hugely elevated passage, but also lots of flashy extended trots with a short hindleg. The first steps of passage were a bit of a mess as van Silfhout had trouble finding the beat: first the passage was too big, then almost a piaffe. In the third extended trot, the hindleg was the best. The extended and collected walk had almost no overtrack and Arlando took a couple really big steps before settling into piaffe. The second piaffe was sitting, but van Silfhout started it really early and it crept forward a bit. The canter half-passes swept easily sideways. The one tempis started a little crouched and tense, but opened up well across the diagonal. The canter pirouettes were hurried and not well-placed on the diagonal. The last extended trot got a bit frantic in front. Arlando showed incredible engagement in the passage on the final centerline for a great finish to the test.
Agente Kirk Thinggaard & Jojo AZ
Kirk Thinggaard and Jojo AZ don't bring a lot of flash, but are a very harmonious pair. The firt half-pass was a little sticky, without the flow it really needed. Jojo's hindleg in passage is a little quiet and should step more up and under, but he carries himself well. The collected walk was settled, but a bit lateral. The transition to piaffe was lovely and smooth and the piaffe itself was sitting, active and perfectly in place. In the twos, the change to the left we a bit bigger than the one to the right, but the tempis had nice shoulder freedom. There was an error in the ones. The pirouettes were a little flat in the canter, but controlled. After the canter, the extended trot was the best, with Jojo reaching way under himself behind. The final centerline was lovely
Juliette Ramel & Buriel
Buriel has a really amazing degree of suspension in all the trot work. The trot half-passes moved sideways with lots of power. Buriel sits well in piaffe and springs between diagonal pairs, but brings the left front and right hind more forward, but the second piaffe got a bit unsteady. Ramel got her horse a bit tight in the neck for the canter half-passes. The contact was occsionally a bit strong. The two tempis were absolutely beautiful with each change big and uphill, and the ones were almost as nice. The canter pirouettes were excellent, really sitting with plenty of jump in the canter. The final centerline was gorgeous.
Edward Gal & Voice
Gal seems to be having a bit of a difficult time with Voice this week. Today, he started his test with a break to canter already on the centerline and throughtout the test, though Gal's hands were quite, the horse's mouth was a bit open, with the tongue just slightly showing a couple times (like the start of the twos). The trot half-passes in both directions crossed with stunning ease, and were the clear highlight of the test. Voice stepped decently under himself in extended trot, but stays quite tight and upright in the neck. The passage was all very bouncy, but occasionally Voice pushes the croup up instead of carrying with his hindleg. The first piaffe was active, but Voice's back was dropped. There was an error in the end of the twos. The ones were not the most ground-covering, but Gal had the horse flowing easily between changes. In the canter pirouettes, Voice really dropped his croup, but since he found the balance a bit difficult, the steps around were a bit big.
Judy Reynolds & Vancouver K
Reynolds started her test with an almost perfect halt. Vancouver K stepped square out of feather-light collection. Starting in the first extended trot, and marring a bit the half-pass left, Vancouver K started pushing a little above the bit, like he was lifting his shoulders so much he couldn't quite handle it. However, by the end of the first extended trot down the side, Reynolds had him settled. The passage has lovely expression in front. After the collected walk, Vancouver shuffled a little into piaffe and didn't have enough energy to step clearly out of it into passage. The second piaffe was more expressive with better transitions. The twos were ridden in a lovely supple canter, but Vancouver got a touch down in front. The canter pirouettes were ridden a bit like schooling pirouettes. The passage on the final centerline really shined and the piaffe was active, even though the horse crosses a little in front.
Mads Hendeliowitz & Jimmy Choo
Hendeliowitz rode really fluid trot half-passes. The passage and extended trots were nice, with lots of power from behind, though occasionally Jimmy Choo loses the elevation or suspension for a stride or two, getting a little long in the frame or a little flat. The extended walk had good overstep and the horse was clearly relaxed in it, though maybe a bit low in front. Jimmy Choo has one of those piaffes where he closes at the base not only by bringing his hind legs under, but also by leaning over his front, so it is not the most balanced and rhythmical, even though it is active. The transition to canter came more out of a slow trot than passage. The canter half-passes looked a little difficult, with the haunches almost leading. In the one tempis between the canter pirouettes, the horse pulled a little down and out. The final extended trot was ridden with lots of power without getting hurried, and in the passage down the centerline, Hendeliowitz got Jimmy Choo really stepping under and springing off the ground.
Marcela Krinke Susmelj & Molberg
Molberg moves in a way that produces easy power in the exercises, but does not have the most uphill way of going, as he seems to be built in a way that makes rotating his croup down difficult. The trot half-passes were very smooth, but could have been a bit more elastic. The passage is very secure, popping off the ground with an easy consistent beat. After the walk, the piaffe-passage lines were lovely to watch, with Krinke Susmelj making it look so easy to keep her horse in rhythm. The canter half-passes were very nice, moving easily sideways with lots of lift in the canter. The one tempis sprang forward each stride, but could have jumped more uphill in a rounder canter. The first canter pirouette was tiny, but a little quiet; the second, a bit bigger. Susmelj deserves lots of credit for producing such an easy looking test with real quality.
Belinda Trussell & Anton
I saw Trussell and Anton six years ago at Aachen and remember being impressed with what I saw then, so it's been a delight to see them coming into their top form this year. Trussell does a lovely job riding Anton, but she cheats a little in the test riding, shaving some corners or starting exercises a little off the marker. Early in the test, Anton looked very nice in the half-passes. Though they weren't the biggest, they were very supple. The horse really steps under himself in passage and the passage really improved his extended trots. The ones down the side had more suspension than the first one across the diagonal. The passage could travel a bit more forward at times. The piaffe out of the walk was in true sit, as we the second, though the horse found it a little more difficult to find his rhythm out of passage than out of the walk. The two tempis were just the tiniest bit swinging behind, but had lots of expression in the canter. The canter pirouettes were tiny, but not the most uphill, and Anton curled a little in the first.
Ander Dahl & Selten HW
Selten has a very elastic way of going, but has a bit of a tendency to get a bit out behind. The springy passage is not always consistent in its engagement. The trot half-pass to the right was much more fluid than the one to the left. In extended trot, the horse tracks up, but moves with a bit of a flat arc to the hindleg. Dahl did an impressive job getting Selten to push up out of the slightly backward looking piaffes. The transition to canter was short behind. The canter half-pass left was stunning, moving sideways in a soft expressive canter. Some of the twos were short behind and the ones were a bit stuck. The canter in the first pirouette was quite good; in the second, the horse appeared to be spooking at the camera. The final piaffe was really bouncy, though Selten really swung from side to side in front to keep his balance.
Pierre Volla & Bandida Altena
This mare has a very flashy trot, but has some trouble still carrying it. She was a bit irregular in the first extended trot and broke to canter on the short side after. In the trot half-passes, Bandida Altena seems to struggle a bit with the crossing, though the bend and trot is good in them. The passage was huge in front and uphill. Volla could not get the rhythm of either piaffe after the collected walk, with his mare tensely snorting and threatening to rear. Clearly the tension had hit her, because the nervous snorting continued in the canter half-passes. The twos would have been stunning except that a couple were rather close behind, and Volla had trouble getting the ones started. Between the pirouettes, which were uphill but still a little unbalanced, the ones weren't quite straight. The final piaffe came though for Volla, though the mare has trouble coordinating the diagonal pairs. Overall, this mare has incredible movements, but struggles when her movement is more than her training or strength can handle at the moment
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