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.

all photos by halt, salute. please ask before using

USEF Para-Dressage National Championship & WEG Qualifier 2014 - Freestyles for all Grades

New Jersey had several days of lovely weather for the opening of the US Para-Dressage Championships, but of course, my work and my own equine obligations interfered earlier in the week, so I was stuck coming for the rainy day. All the morning horses sloshed their way through their tests, and there was mud splattered over every horse's belly, even after the sun peeked out.

Rebecca Hart preparing to enter for her freestyle

Rebecca Hart was again the  undisputed overall champion. Her mare Schroeter's Romani was beautifully over the back in all her work and supple in the bridle. She is also a lovely moving mare. What separates Hart's good riding from the top riders internationally is a more energetic picture. Similar remarks—both strengths and weaknesses—apply to Margaret McIntosh, who was the overall reserve champion.

Rebecca Hart & Schroeter's Romani (Grade II)

Rebecca Hart & Schroeter's Romani (Grade II)

Rebecca Hart and Margaret McIntosh with their awards coolers

President of the Ground Jury Kristi Wysoki at the prize-giving

Hart finished on a final score from the three days of 74.642% with 76.917% in the kur. McIntosh scored a 73.500% for her Grade Ia freestyle, finishing behind Roxanne Trunnell's 74.00% in that class, but it was enough to give her an overall score of 71.582%. Trunnell was ranked third overall with Nice Touch also on a final score of 71.582%.

Margaret McIntosh & Rio Rio (Grade Ia)

Roxanne Trunnel & Nice Touch (Grade Ia)

Derrick Perkins & NTEC Hans (Grade Ia freestyle, 60.435%)

Roxanne Trunnell & NTEC Royal Dancer (Grade Ia freestyle, 70.652%)

Judge at M, Adrienne Pot, dressed very stylishly.

Kim Decker & Dasher's Destiny (Grade Ia freestyle, 64.130%)

Heather Blitz, coach of Angela Peavy, chatting with Derrick Perkins

Sydney Collier & NTEC Cuplee (Grade Ib freestyle, 71.389%)

Sydney Collier was the only rider in the Grade Ib division, though she showed two different horses. Her 71.389% overall score on NTEC Cuplee put her in fourth across the grades, leaving her in a good place for WEG team contention.

Sydney Collier & Willi Wesley (Grade Ib freestyle, 66.667%)

Mary Jordan & Sebastian warming up

The winner in the Grade IV division was Susan Treabess with the stallion Kamiakin. They showed by far the most powerful test of the class and Treabess maintained the best connection through the bridle. Unfortunately her test was interrupted by a major resistance in a simple change of lead on the short diagonal. Still, the rest of the work was enough to give them the winning score of 73.00% for the test and the Grade IV championship.

Susan Treabess & Kamiakin (Grade IV freestyle, 73.500%)

One of the more disappointing aspects of the grade IV class was the required simple changes. I don't remember even one that dropped cleanly into five(ish) steps of walk before immediately stepping back into canter.

Holly Bergay & NTEC Royal Dancer (Grade IV freestyle, 68.250%)

Mary Jordan and Sebastian (Grade IV freestyle, 71.083%)

Susan Treabess & Kamiakin (Grade IV)

Elizabeth Traband & Ucari (Grade IV freestyle, 70.500%)

Elizabeth Traband & Ucari (Grade IV freestyle, 70.500%)

In the Grade III division, Angela Peavy dominated, though she won the freestyle and the overall championship on different horses. To music, Ozzy Cooper reigned supreme with 74.333%. Peavy rode a test that hit her music beautifully. Her overall score with Lancelot Warrior was 70.442. Her two bright bays could almost be twins, with their similar colouring and way of going; Peavy rides both horses nicely up in the frame, though both could use to reach more through their topline into the bridle.

Angela Peavy & Lancelot Warrior (Grade III)

Angela Peavy & Ozzy Cooper (Grade III)

Angela Peavy & Lancelot Warrior (Grade III)

Kate Shoemaker & Pacifec M (Grade III freestyle, 73.500)

Kate Shoemaker & Arpeggio (Grade III freestyle 69.333)

Eleanor Brimmer's London Swing is an eye-catching uphill mover, but did not score higher as the horse was often braced above the bit (the bracing is not so evident in the picture below), even when the exercises were otherwise of good quality.

Eleanor Brimmer & London Swing (Grade III freestyle, 66.833)

Pamela Hardin & Freemont (Grade III freestyle, 64.167%)

Pamela Hardin & GM Major Soho (Grade III freestyle, 66.333%)

Ashleigh Flores-Simmons & Verite SF (Grade II freestyle, 70.333%)

Ashleigh Flores-Simmons rode one of my favourite freestyles of the day. Her ride Verite is the typical high-stepping Dutch type, and Flores-Simmons chose music with a nice strong beat that matched well her horse's way of going. She also had her transitions perfectly timed to the music.

Elle Wooley & Noble Baron (Grade II freestyle, 68.000%)

Elle Wooley preparing to go in the ring for her ride.

Marsha Cullen & Latte (Grade II freestyle, 64.000%)

Deborah Stanitski & Tiramisu (Grade II freestyle, 65.250%)

Pamela Hardin supports Kim Decker (literally!) during the awards ceremony.

The stables at Hamilton Farm

all photos by halt, salute. please ask before using

FEI World Cup Final 2014 Lyon - Grand Prix Freestyle

Charlotte Dujardin & Valegro: 92.179%

• Though the sound is very different, more cinematic, Dujardin's new choreography is like her Olympic program in two ways: it contains lots of transitions between quiet and dramatic and is highly difficult and technical. Their first extended trot was not only enormous but very settled and the following half-pass reached strongly forward and sideways. The passage is ridden to quite a quiet Irish-sounding tune that adds percussion for the transition to piaffe. The piaffe work was superb, with Valegro dropping his croup, closing well at the base, and staying up in the bridle. Valegro was a hair less underneath himself at times in the passage than the day before and there were a few times when Valegro got a little deep in the bridle in the trot work, but these were incredibly minor deviations for his overall correctness. The extended walk should still push forward a little more from behind. The canter pirouettes were impeccably balanced as they turned, though the one to the left was a hair big. At the end of the test Dujardin rode a marvelous piaffe pirouette with the horse turning without the slightest loss of rhythm or step off the line behind.

Helen Langehanenberg & Damon Hill: 87.339%

• Langehanenberg's music fits Damon Hill so perfectly, with the notes to carry power, but still some softness and beauty. Their entrance had a halt that was out behind and the first piaffe was quite irregular. The combination settled into their ride well, though. Damon Hill really compressed in his body a lot in the piaffe, holding himself up and together better than ever. The lovely flowing half-passes in trot could have pushed a little more sideways today. The passage work was remarkably uphill and engaged, almost as though Damon Hill's front legs needn't touch the ground at all. The two tempis were beautiful and ground-covering, though Damon Hill has the potential to be a little freer in front. The canter zig-zag was perfectly balanced in its changes of direction. Damon Hill lost energy in the transition to passage at the end and looked just a touch laboured in his extravagant final extended trot.

Edward Gal & Glock's Undercover: 83.696%

• Gal's entrance looked quite settled in its characteristic high-stepping piaffe and passage, though the frame could still have been more open. The rhythm was a little slower in a nice way, showing more relaxation. The early extended trot was not quite as tense in the body as it can be, but still lacked over-track. The trot half-passes had lovely reach forward and sideways both in  front and behind. The extended walk was relaxed, but actually a bit too open in the frame. The canter half-passes were superbly balanced, but very short in the stride. Undercover came up in the shoulder nicely in the tiny canter pirouettes. The extended canters were huge, but rather croup-high. The one tempis were incredibly tight in the body and Gal had trouble making his transition after them down into passage. Gal had a solid and precise ride as always, but he couldn't quite prevent Undercover from getting a bit overcooked towards the end of the test.

 Tinne Vilhelmson-Silfvén & Don Auriello: 80.911%

• Don Auriello is a beautiful horse in the body, but he is still painfully slow behind in the passage. The piaffe with its super sit is a surprising contrast to the passage every time I see this horse go. The trot half-passes were beautifully open in the shoulder. Don Auriallo steps way under himself in the tempi changes, again a total contrast to the passage where he drag his toes. A couple of the canter pirouettes lost some of their uphill balance and their energy. The horse just seemed a little flat in these finals. At the end of the test, Vilhelmson-Silfvén really drove Don Auriello forward for two huge ground-covering extended trots—divided by a short line of slightly more energetic piaffe and passage—showing him push more from behind than he usually does.

Isabell Werth & El Santo: 79.071%

• The major strength of El Santo is how much he engages behind, particularly in passage. He still cannot quite carry his super engagement into an in-place piaffe, however. As sick as I am of Queen in freestyles, I love the cheerful energy of Werth's music for this horse. The extended trots have enormous over-track. In the extended walk, Werth rode El Santo correctly into the bridle. The incredibly sitting canter pirouettes looked a little tenuous in their balance, but held together. The extended canters were absolutely enormous without getting the least bit hurried. There was an error behind in one line of two tempis. El Santo stepped under nicely in the canter half-passes, whereas many horses tend to get quite short behind. Werth rode at full power and El Santo was definitely with her today. 

Danielle Heijkoop & Kingsley Siro: 77.946%

• After an unsteady halt, Heijkoop sprang off into her energetic freestyle.  Heijkoop was the first in the class to really hit clear musical transitions and precise lines. Her trot half-passes drove beautifully up and sideways. The trot work looked controlled, but also effortless. The transitions in and out of the canter pirouettes were very fluid, though in the pirouettes, the horse could carry a little more behind rather than pushing up and back off his front legs. Siro got a touch braced upward in the canter half-passes. In extended trot, the horse should reach more out into the bridle and step under more behind, but the last one created quite the power for the last steps of piaffe and passage. The beat of the footfalls in piaffe and passage hit the music exactly as Siro took his very deliberate and regular steps. 

Jessica von Bredow-Werndl & Unee BB: 77.768%

• Von Bredow-Werndl had a rather rough start with no real halt and a stride of cross-canter in before her first canter pirouette. Unee settled well into the work, and the tempis that polished off the first centerline were big and flowing. The canter pirouettes are nicely measured and sitting. Von Bredow-Werndl rides a lovely series from extended canter to piaffe pirouette to extended walk that came off cleanly in a way that showed off the horse's attentiveness. The transition from piaffe to passage is a little difficult for Unee and he often pulled out on the bit as he steps forward. The originality of von Bredow-Werndl's pattern is unfortunately offset by very unoriginal use of "Pirates of the Carribean" and "Painted Black". Still, the music choices do work decently for the dramatic horse. 

Hans Peter Minderhoud & Glock's Johnson TN: 77.625%

• Minderhoud created a very polished and soft picture with this horse right from the outset. The piaffe and passage were rhythmical with plenty of lift, though Johnson could come a touch more under behind. The extended trot is really loose in the body in a nice way and Johnson steps way underneath himself. The extended walk got too deep in the bridle and the collected walk was very short behind in anticipation of the canter. The extended canter beginning through the short side stepped under beautifully. The tempis were ground-covering and the canter rhythm clear. The canter pirouettes could have been more uphill with a bit more jump. After the canter work, the passage took a little while to develop, but looked strong and relaxed for the finish. 

Marc Boblet & Noble Dream Concept Sol: 74.875%

• This mare really steps off the ground in her passage, but the piaffe by contrast is quite a struggle, and Noble Dream showed her tendency to lurch out of piaffe back into the huge passage. The early line of two tempis were dropped in the back and the mare jumped together behind a couple of times. The subsequent line of ones was much stronger, with Noble Dream stepping way under herself and pushing upward from behind. In the canter half-passes, however, she got rather restricted behind again. The extended trot was high-powered with the mare traveling with huge suspension across the arena. The music had a bit of techno flair, but seemed maybe a bit too jazzed up for the mare, adding to the sense of her tension. Boblet cleverly ended on Noble Dream's super passage. 

Inessa Merkulova & Mister X: 73.786%

• In the initial trot work, Mister X traveled with lots of engagement from behind, but Merkulova could have done more to get him to open up his frame. The passage and piaffe was regular in it's rhythm and had lots of suspension, but didn't quite step up consistently behind. The collected walk was quite tight in the back while the extended walk was clean but a little laxidasical. The canter pirouettes were impressive. Mister X carried his weight completely behind. In the one tempis, the horse's haunches were swinging way too much, causing him to lose his forward momentum. With the horse's impressive gaits, and clean riding, the test definitely earned its good score.

Mikala Münter-Gunderson & My Lady: 72.250%

• Münter-Gunderson really rode for her first extended trot, and boy can My Lady show over-track. The music was Broadway style, with the catchy "All That Jazz" for the piaffe and passage. The piaffe and passage are quite energetic, though it often looks like quite a struggle for Münter-Gunderson to keep her mare together. My Lady changed behind in the first canter pirouette. The forward tempis looked great. My Lady's collected walk got quite artificial in front, though the extended walk was quite nice. The second canter pirouette also didn't quite show clear steps behind and was a bit big. The final piaffe left a good last impression, with My Lady stepping strongly up and under behind.

Tina Konyot & Calecto V: 71.893%

• Konyot has a great freestyle, but I have to say, it's getting a bit old. Calecto definitely got quite croup-high, high in the neck, and low in the shoulder in the piaffe and passage today. He really pushes up with his big neck, making it hard for Konyot to get his hind legs under him. The extended trot to half-pass was a super effective move to get a really dynamic half-pass, though when she rode the other order in the other direction, the extended trot was a bit flat. The extended walk had a very good rhythm. The first canter pirouette was rather tense and the horse jumped together behind. The rhythm and jump of Konyot's tempis always give the impression of lots of power and energy, but there was an error in two of the four lines of one tempis. Calecto didn't quite seem with Konyot today, getting quite croup high again in the final tour of passage and piaffe and completely quitting into the halt several seconds ahead of the musical end. 

Elena Sidneva & Romeo Star: 71.018%

• Sidneva began on a quite stunning extended trot, a little reminiscent of Damon Hill's open strides and even, supple engagement in front and behind. The first piaffe could have been more in place and active. The classical music for the trot work was a little flat, but for the piaffe and passage music had a good rhythm and the right weight for this horse's gaits: not to sparkling, not too heavy. The collected canter after extended canter and in the first canter half-pass needed a bit more jump and got rather slow behind. The two tempis were ridden very nicely forward, covering the whole diagonal, but to score up more, the horse needed to jump up a little more into them. In both canter pirouettes, the stallion seemed to want to fall out of them. Sidneva ended with another of Romeo Star's very nice extended trots. 

Marcela Krinke Susmelj & Smeyers Lazander: 69.857%

• The early trot work in this freestyle seemed rather hurried and short behind. The piaffe and passage transitioned to much much better engagement, though Lazander sometimes hasd a tendency to pull down in the bridle. The half-pass after the passage was much more powerful from behind, though Krinke-Susmelj had to give some pretty strong half-halts to get him up in the bridle. Krinke-Susmelj rather unsuccessfully rode two tempis on the circle, with the haunches swinging and a mistake at the end. The canter half-passes jumped sideways quite well, and Lazander got much lighter in the bridle in them. There was another error in a later series of one-tempis. The piaffe and passage at the end of the test were at full power, but it might have been nice to have a few more seconds of this highlight to really solidify a good final impression.

Mary Hanna & Sancette: 69.821%

• Hanna rides a really lovely collected trot with fluid uphill strides. The piaffe and passage are very solid, with Sancette getting just a bit wide in front in piaffe and having a minor loss of power in the transitions. Hanna rode right out of walk into a canter pirouette, which was not quite optimal today, since the horse got a bit flat from the tension of the transition, and it took Hanna the first rotation to get Sancette together. The one tempis were very uphill and nicely forward, but unfortunately Sancette bobs his head quite a bit in them. The final lines of passage were very nicely engaged behind, with Sancette reaching softly up into the bridle.

Cesar Parra & Van the Man: 68.429%

• Parra had some Latin pop, including the recognizable Shakira. The piaffe, where the horse can really spring off his haunches, did not always look very secure in it's rhythm. The passage is big and elevated in the shoulder, but Van the Man sometimes gets a bit out behind. The first canter pirouette was very poorly placed. The second was more deliberate and the pirouette overall was in better collection, though the horse lost the canter rhythm for a stride at the end. Another canter pirouette followed by one tempis was ridden in quick succession: a difficult move that got Van the Man nicely springing up  off his haunches in the ground-covering one-tempis. The lines in this particular freestyle should have could have been more precisely ridden.

Dong-Seon Kim & Bukowski: 68.089%

• Delightfully, the young Korean rider entered with a dose of Gagnam Style and stuck with pop hits.The passage and piaffe that began the test was the definite highlight, springy and rhythmical, though it ought to have been a touch more uphill and up in the bridle. The extended trot looked really nicely energetic with nice reach forward across the diagonal. The canter work looked more dynamic today, though there is at least one stride where the horse changes behind into cross-canter. The two tempis and very nice with the horse moving up through his body, but the ones got rather short and downhill. Even with its imperfections, the test gives the viewer a nice feeling: Bukowski looks very comfortable in the big arena under Kim's steady riding. 

FEI World Cup Final 2014 Lyon - Grand Prix

This was a really nice World Cup to watch with a really top group of riders and very good judging. It's a bit odd for the winner to come in on a wild card, but the win was certainly well-deserved!

Charlotte Dujardin & Valegro: 87.129%

• The first extended trot was not quite as jaw-dropping as usual, but still had amazing reach and over-track. The half-passes had lovely crossing and power. The piaffe showed amazing sit and spring from behind, really closing at the base to a degree that Valegro hasn't shown in a test before, but in the second piaffe, it became just a bit much and Valegro lost the rhythm for a second. There was also a tiny rhythm error into the transition into the second passage out of walk. The extended canter was huge and the transitions in and out had impeccable uphill balance. The one tempis were unquestionably the most ground-covering, engaged and straight. The tiny balanced canter pirouettes could have had a hair more jump. The passage and piaffe on the final centerline looked more powerful than ever. This pair has no real weakness and they slowly turn up the dial, today earning another world record score.

Helen Langehanenberg & Damon Hill: 83.343%

• Damon Hill was really reaching and pushing forward in his long and light-footed strides for the first extended trot. The trot half-passes were totally fluid, though they could have had a little more sideways power. The passage had super engagement as always. The two tempis were absolutely fluid. The transitions from collected to extended canter and back were smooth and relaxed, with none of the tension in the back that other horses often show. The ones were just a hair shorter in the stride than one might want. Both pirouettes turned in excellent lateral balance with nice sit. Damon Hill was really on his haunches on the final centerline, but just before the halt it became just a bit more than he could hold and gave a little lurch into the halt. What I never get tired of in Langehanenberg's riding is the appearance of harmony and lightness.

Edward Gal & Glock's Undercover: 79.957%

• Gal has such precise and subtle riding, but I still wish I could see Undercover if Gal could let go just a little, making the test more fluent and natural. The extended trot was very short behind lacking the desired over-track. The piaffe and passage was as regular as metronome, as always. The two-tempis jumped a bit from side to side, though the canter rhythm was clean. The canter zig-zag had lovely sideways movement and effortless changes of bend. The ones were not ground-covering and incredibly short in the neck. Gal added good sit to the tiny canter pirouette left, though the one to the right was a little flatter. The last extended trot showed a little overstep, better power from behind, and more open expression. 

 Tinne Vilhelmson-Silfvén & Don Auriello: 75.086%

• Though Don Auriello is quite flat behind, he really steps under behind in the extended trot and his shoulder-freedom is amazing. Vilhelmson-Silfvén kept him uphill well in the trot half-passes, allowing him to really reach up and sideways. The passage is still a little weak behind, and the piaffe a little less springy than ideal, but with very good rhythm and sit. The one-tempis were regular, but unfortunately Don Auriello missed one, inexplicably. The last piaffe had a little more spring, but more from tension than engagement. Vilhelmson-Silfvén does a beautiful job maintaining her horse in a consistent uphill, round frame like few other riders can.

Isabell Werth & El Santo: 74.186%

• El Santo always looks like a tough one to keep together, but Werth did a super job keeping him together today. El Santo dragged his feet a bit in the reinback. The piaffe continued to be either springy and traveling forward or a bit lacking in energy. The extended walk was lovely, as El Santo just dropped softly into relaxation. The two tempis had super uphill spring, but the ones were laboured. One stride in the canter zig-zag jumped together behind. The canter pirouette left was uphill but not quite balanced as it turned; the one to the right could have been more uphill. The last extended trot was super powerful with lots of over-track. A great test for this pair. 

Hans Peter Minderhoud & Glock's Johnson TN: 73.771%

• Minderhoud has done a lovely job maintaining the fluidity of this horse's movement even as he has advanced to Grand Prix level. The trot work was lovely and energetic. The passage sometimes got a bit irregular and wiggly, but I expect that will go away as Johnson develops. The collected walk was a little tight behind. The piaffe had a good active rhythm. In the two-tempis, Minderhoud had to work a little to get the changes moving forward as opposed to jumping merely up. In general, Johnson still seems to rely on Minderhoud for his balance in the canter, though the work was still very good. The final passage had lots of engagement and knee-action. This test showed the pair's developing partnership at this level very well. 

Danielle Heijkoop & Kingsley Siro: 72.857%

• Siro looked good today, with Heijkoop keeping Siro nicely in front of the vertical overall, though he got a hair tight in the trot half-passes. Siro pushes sideways nicely. The two tempis flowed across the arena with expression and relaxation; the ones were also good, though they could have been a bit more uphill and open in front. The flying change after the extended canter was late behind. Unfortunately, Heijkoop lost the passage on the final centerline, reflective of her not quite having her characteristic control. 

Jessica von Bredow-Werndl & Unee BB: 72.686%

• There was sometimes some minor inconsistency in Unee's contact to the bridle. The passage and piaffe were nicely elevated, though the horse could have come a little more under himself behind. The extended canter was powerful, but the transitions in an out could have been more steady and balanced. Unee gave a big kick out to the leg at the beginning of the one tempis. Von Bredow-Werndl could have kept the canter pirouettes a hair more balanced and active. 

Marc Boblet & Noble Dream Concept Sol: 71.814%

• This slender mare is such a ballerina in the arena with her huge and light movement. The half-passes moved sideways well and stayed open in front, though the mare tilted a bit in the contact. The piaffe is quite small and Noble Dream lurches up into passage. The passage has lots of suspension. Boblet didn't quite show enough steps in the second piaffe. The tempis were not quite straight because the horse got just a bit too tense to be supple. The pirouettes maintained the jump of the canter well and the final centerline was pretty cleanly ridden. 

Inessa Merkulova & Mister X: 71.057%

• Mister X is a very leggy fellow with huge knee-action. In the trot half-passes, Merkulova got the horse quite behind the bit and rather restricted in his strides. The rein-back was a little downhill but had very clean diagonal steps. The piaffe was incredible, with huge spring off the ground. The passage also had lots of suspension, though again, Mister X got bit deep and could travel a hair more forward. The horse jumped together behind in the transition up into canter. The flying changes were a bit odd mechanically, with the horse getting high in the shoulder but also deep in the bridle, almost like crow-hopping. Overall, the test had some super highlights, though one would probably want a softer contact with the bit.

Tina Konyot & Calecto V: 70.443%

• This pair's entrance was super balanced, but Calecto did not quite settle into the halt. The first extended trot could have used a little more forward power, though I think to keep the hind end down today, Konyot toned her stallion's power down. The first passage was enormous and stayed regular, with the croup not getting too high. In the piaffe, the stallion crept forward a bit much and came out into a slightly less controlled passage. The second piaffe-passage tour had cleaner transitions. The tempi changes jumped nicely off the ground, but could have pushed a little more forward from behind. The pirouettes are top class, turning slowly in beautiful, controlled, uphill balance. Calecto got a bit unbalanced before the last centerline, which was rather untidy. The passage got irregular, the piaffe might have needed a couple more steps, and the halt was a bit abrupt. Still, Konyot presented a nice balance of expression and control in this test.

Mikala Münter-Gunderson & My Lady: 69.429%

• My Lady showed a lot of power, though sometimes looked a touch tense when she moved really big. The second extended trot never quite got going. The transitions between piaffe and passage were very clean, though in piaffe the mare could engage more in the right hind. The two tempis has a rather unbalanced start, and though they were big, they jumped a bit from side to side. Münter-Gunderson lost some of the collection of her horse's canter in the zig-zag. The last extended trot was more powerful and open in the stride and the final passage had lots of elevation.

Mary Hanna & Sancette: 68.471%

• Hanna had Sancette moving in a nice forward way, but there were a number of small irregularities in the trot work, especially where the horse pulled down a little in the bridle. The piaffe was nicely active, though it came a bit above the bit. The canter zig-zag was slightly laboured. Sancette swings a little in his haunches in the tempis, though he takes nice big strides. The pirouettes were small, but the canter lost some jump in them. 

Marcela Krinke Susmelj & Smeyers Lazander: 67.743%

• Lazander is a very light-footed horse and had a open springy extended trot. The trot half-passes were a little tight in the back. The piaffe and passage are absolutely regular with impeccable transitions, though the horse could sit a little more in piaffe. The canter work got excessively rocking and lost a bit of its proper three-beat rhythm, and unfortunately she lost a lot of points here. The frame was nicely open and and up, though Lazander did tend to get rather tense, especially through his back.

Elena Sidneva & Romeo Star: 67.629%

• Romeo Star had a nice open first extended trot, but lost some of his engagement in the half-passes. In the first piaffe, the stallion wanted to rush forward out of it, and while trying to hold him back, Sidneva caused him to lose some of his energy. There were a number of mistakes in the two-tempi changes, but the ones were quite nice. The canter pirouettes had nice bend, but lost a good deal of the energy of the canter. 

Cesar Parra & Van the Man: 65.543%

• Van the Man is a nicely leggy horse with a very difficult neck that often gets too short and tight. The horse broke into canter in the first extended trot. Van the Man sits very well in piaffe and really springs up from behind. Unfortunately, the horse, who isn't used to such an impressive indoor, gave a pretty big spook and resistance into the second passage tour. About halfway through the canter zig-zag, the horse came above the bit for a couple of strides, though Parra finessed it very well. The one tempis were rather hurried and not quite straight. The final centerline was quite nice.

Dong-Seon Kim & Bukowski: 64.471%

• Like Parra, Kim had a break in his first extended trot and also a little trip in the first trot half-pass, though they were otherwise energetic. Bukowski threw his head straight up after the rein back. The piaffe was nicely rhythmical and active, though it crept forward slightly. The walk work was rather tense. The tempis—both the twos and the ones—were steady but quite small. The extended canter got quick rather than lengthening in the strides. The last line of piaffe and passage was regular but rather tense in the topline.

LA Mid-Winter Dressage CDI 2014 - Intermediare I

Steffen Peters & Aristo: 69.298%

• Well, if you are looking for a really nice small tour horse, this one is for sale. Peters had the horse nicely moving forward, but there were a few moments where he seemed a bit weak behind. In fact, when Peters went to urge Aristo forward and sideways in for the trot half-pass right, the horse found it easier to canter than to push into a more elevated trot. The voltes were very nicely uphill and balanced. The medium trot covered the ground well. The extended walk had a nice relaxed rhythm but not a ton of over track. The canter half passes really pushed sideways. There were a few mistakes in the three tempis. Peters's canter pirouettes were not very small, but the horse showed it could sit and turned in a clear canter. There was a mistake again in the last of the two tempis. The extended trot at the end really covered the diagonal but could have shown more reach in front.

Elizabeth Ball & Avanti: 68.991%

• Ball rode in a way that definitely attacked the test. The trot had a clear driving rhythm, though there were a few moments of tension. The canter half-passes were nicely uphill with big flying changes between them. Avanti lost his balance at the beginning of the canter pirouettes but Ball did a good job rebalancing him uphill. Unfortunately he swapped leads behind at the end of the pirouette right. Both lines of tempi changes jumped up nicely. 

Nick Wagman & Zenith: 68.904%

• Zenith is a very impressive powerful horse with fluid gaits. Wagman had some inconsistency in the angle of his  first shoulder-in. The half-passes had nice crossing but the one to the right got a little bit passage-like and tense. The balance in the voltes was very good, with Zenith maintaining a strong trot. The medium trot was a little flat and tight in the neck, and the horse collapsed into the bit in the walk transition. In the canter work, Zenith again showed some tendency to occasionally get a bit deep and tight, with Wagman having to bump the horse's head up. Both pirouettes were quite small with the horse really trying to sit, but Zenith got a little hurried to keep his balance. 

Mette Rosencrantz & Mosegaards Rico: 68.509%

• Mosegaards Rico is a compact and lightfooted type. The trot work in this test was nice but in the shoulder in and voltes it lacked some engagement. The horse stepped under better behind in the trot half passes. The canter half passes were nicely uphill and active. The threes were also plenty uphill with good jump. Rico became a bit unbalanced and above the bit in the second pirouette, but the first was quite small. The final halt was dead square and the transition in was very balanced.

Leslie Reid & Fine and Smart: 67.281%

• Reid's trot work had a very consistent rhythm and contact. To score higher it could have had a little more energy and been a bit more closed in the frame, though Fine and Smart's basic gaits had that floating pleasant appearance. The collected walk was very short and tense. The three tempis were clean and expressive but slightly croup-high. The canter pirouettes were controlled and well-balanced. There was a little hesitancy in the transition down from canter to trot. 

Mette Rosencrantz & De Noir 3: 66.447%

• De Noir is a more powerful horse then Rico, but a bit unsteady in his gaits. In the first medium trot he became quite wide behind, though the horse pushed forward better than many in the class. In the half-passes, the canter should have shown a little more jump, and the horse became a bit low in front in the changes. The three tempis were nicely balanced but could have pushed more from behind. In the canter pirouettes, De Noir got a bit stuck and over-collected and started leading with his haunches. The final extended trot could have had more suspension, but was evenly reaching with bigger strides both in front and behind. 

Steffen Peters & Appassionata: 65.965%

• Peters was showing Brandi Roenick's new post-young-riders acquisition. Appassionata is a very long legged mare with lots of action in the front leg and elastic gaits, and probably the most interesting horse of the class. The hot mare spooked at the end of the first medium trot. The lateral work in trot flowed in a good rhythm with good angles in the shoulder-in and half-pass. The mare lost her balance and had a few moments of big anxious resistance in the canter half-pass left. The threes were very nice especially the change to the right where the horse really stepped under. Peters's canter pirouettes were small, but turned hurriedly when the mare felt unbalanced. The transition down from canter to trot was a bit of a mess. Overall the test was extremely tactfully ridden, as one would expect. 

David Blake & Lord Chalk Hill: 65.789%

• Lord Chalk Hill started by offering a very abrupt halt. In the trot work, the horse moved very nicely and swung through the body, but one wanted to see him more uphill in the frame. The stallion dragged his feet in the reinback. The left flying changes in the canter half-passes were both late behind. The three tempis, by contrast, were lovely and uphill. Blake's first pirouette was quite big and off the bit; the second was a little smaller but rotated on rather fixed hindlegs. The twos showed lovely shoulder freedom. 

Christine Traurig & Louisdor: 65.789%

• Louisdor is a quite heavy-boned horse but still quite hot. Traurig began on a very precise square halt. The trot work was very precise and well-ridden, especially the flowing half passes and excellently balanced voltes. The shoulder-ins could have used a little more power and been a little more open in the neck, but were still very good. The rein back was clear. The walk was quite lateral, despite not seeming excessively tense. The canter half-passes were tidy but could have had a bit more energy. The three tempis were a bit short in the strides and Louisdor missed the third one. The twos were clean. The canter rhythm in both pirouettes was very good, though the first one was a tiny bit big. The final extended trot had very nice power from behind. 

Amelia Child & Veto: 65.439%

• Child's ride was committed and energetic. The horse had gais that were pushing well from behind, though in the trot work his loose movement sometimes became irregular for a stride. The shoulder in left was very energetic and well-balanced. The collected walk was marching though a bit tense and short behind. The canter half-passes really sprang sideways though the changes were touch flat. Veto's tempis were quite ground covering with the good spring of his natural canter. The canter pirouettes were a bit hurried but relatively small and active. 

Susan Martin & Natasha: 65.132%

• Natasha is a mare with quite short forelegs and not much shoulder freedom but a nice compact body. The first shoulder in had a couple strong half halts which didn't quite make sense. The half-pass right could have been a little more uphill. The first two canter half-passes were a little restricted, but the third to the right strode more powerfully uphill. Martin really rode to get ground covering tempi changes. The two tempis were quite crooked, though. 

Lehua Custer & Winona: 64.737%

• Winona was a little unsteady in the bridle in the lateral work in trot, though the half-passes, voltes, and shoulder-in were relatively fluid. The mare's extended trots had nice power from behind, though they could have been a little more uphill. At the turn down the centerline to begin the canter half-passes, the horse became quite short and wide behind. The canter pirouettes jumped a bit together behind and should have been more elevated in front. Both lines of tempos had nice activity. 

Rebecca Rigdon & Versace: 64.737%

• The rhythm of Versace's trot was quite tight and hurried and the horse frequently came a bit behind the vertical. The second shoulder and was not quite straight. The second medium trot showed nice opening of the strides. The walk was slightly tense and irregular. Rigdon rode a lovely pirouette right, but unfortunately, it was off course. The tempi changes jumped forward well. The pirouette left became a bit hurried and turned more around the middle than the haunches, but the one to the right was (again) quite measured and uphill. That transition down from canter to trot was quite late. The final extended trot was daring and well executed. 

Wendy Christoff & Di Scansano: 63.596%

• Di Scansano had nice even movement in front and behind but seemed to lean a bit on the bridle. The half passes could have used more power sideways. The medium trot really pushed forward from behind, though to score higher it would be good to see more lift in front. The transition to canter from walk was executed in haunches-in. The canter half passes were in nice bend but seemed a bit behind the leg. The horse died out the first canter pirouette, and almost lost the canter in the second. The tempi changes were nice. The final extended trot showed the horse's potential for power from behind. 

Verena Martin & Ulliman: 63.421%

• After the first halt Ulliman got a bit dead to the leg and then became the deep and short in his high set neck. After the nice reinback the horse became a little lighter in the bridle. The canter half-passes were well balanced and strong, though the horse was still coming deep in the contact. The three tempis were successful, though executed with slightly exaggerated changes of bend. In the left pirouette, Ulliman started in good collection but lost energy at the end. The one to the right was quite good as it maintained the collection throughout. 

Lehua Custer & Dance With Me: 62.544%

• This mare has a very short quick-strided canter but a nice flowing trot. In the half-passes the mare was nicely open and up in the frame and step sideways energetically. The halt and reinback was anxious. Dance With Me bobbed her head in the collected walk which was otherwise nicely active. The canter depart looked like a surprise for the horse. The extended canter was a little frantic. The tempi changes were obedient but very small. The first pirouette was very unbalanced—it seemed too small for the horse at this stage. The final extended trot showed the horse with more push from behind and opening up very well in front. 

Erika Reinig & Fraktura: 61.491%

• This mare has a quite nice active hind leg that was not always matched in the front. The trot half-passes were a little tight in the body. The medium and extended trots needed more power from behind and more elevation. The horse became resistant to the bit in the first change of direction in the canter half passes.  There were a couple of errors in the three tempis, though the horse has a nice uphill tendency in her flying changes. The first canter pirouette was big and poorly placed; the second small and almost too collected for the horse at this point. The two tempis were clean and springy. 

Sherry Van't Riet & Sir Deauville: 59.386%

• Sir Deauville is a big, nicely built horse, but seemed quite behind the leg in this test leading to unsteadiness in contact. Van't Riet mostly kept her horse regular and balanced in the trot tour. The canter half-passes were quite above the bit resulting in one unbalanced and crooked change of direction. The three tempi changes were successful but a bit laboured. Both pirouettes were quite off the contact and against the inside leg. 

Georgiana Herrera & Rumiranova D: 57.675%

• Not the best start as Herrara had to give a big kick to get this horse going out of the halt. The trot work was a little inconsistent in the level of energy and rhythm shown. The mare also stopped and peed in the middle of the collected walk—poor Herrera was visibly embarrassed, but it explained the horse's hesitance at the beginning of the test. The canter tended to be a little croup high. There were a few mistakes early in the three tempis and the later ones were quite restricted in the strides. The two tempis were straight and had decent jump. The horse seemed to have nice basic gaits, but they were lost today behind tightness in the body.