Biellmann - the Buzzword of the Season

February 5, 2006
Article/Interview by Joseph Erbentraut
Top Photo: © Christian Lanz/DeniseBiellmann.com
Bottom Photo © J. Barry Mittan 

For fans of figure skating, “Biellmann” has become a catchphrase of sorts since the implementation of the Code of Points by the International Skating Union. The specialists behind establishing the levels of difficulty within the new system have defined the distinctive spin popularized by 1981 World ladies champion Denise Biellmann as among the most complex (and readily rewarded) spins. As a result, skaters of all levels have bent over backwards – literally – to contort into the position. With the Winter Olympic Games in Torino starting this week, Skate Today asked Biellmann to share thoughts on her position as a growingly legendary icon within the sport that she continues to love.

Skate Today: You just got done with a series of shows around Europe. How was that experience?
Denise Biellmann: It was a super experience as always. The audience was great and the reaction to my new number to House Music was fantastic.

ST: In addition to performing in shows, what other ventures have you been participating in?
DB: Apart from training every day to prepare for the shows I do, I'm also working on the Committee for Sport Heart, a club that assists and supports young up and coming talented Swiss athletes and events. As well as that, there are always numerous TV shows to do and I've just finished shooting a TV commercial for McDonald’s.

ST: How much longer are you planning to perform in shows? What jumps and spins do you still have in your arsenal?
DB: That’s hard to say. As long as I still keep getting good invitations and I can still deliver the goods plus the fact that I still love what I do, who knows. I've still got a triple salchow and toe loop plus all of the spins in my arsenal.

ST: How do the shows that you are doing now compare with the competitions and shows that kept you busy during the professional skating “boom” of the 1990s? Do you ever miss those days – skating alongside and competing against names like Kristi Yamaguchi and Katarina Witt?
DB: At that time I really enjoyed those competitions and it was always exciting be able to win against the people coming out of the amateur scene. But after all that I really just now enjoy skating the shows.

ST: What is your most fond memory of your skating career to this point? Do you have any regrets?
DB: I don’t really regret anything. Each of the titles I ever won is special in their own way - but I'm very fond of the standing ovation I got in 1980 at the Olympics in Lake Placid. That was kind of my breakthrough.

ST: Do you train and prepare choreography any differently now that you are performing mainly for European audiences in smaller galas?
DB: The galas here aren’t too much smaller than in the States – OK, we don’t have arenas seating 20,000, but the venues here aren't too small. I still train exactly the same on the ice, but I work a lot harder in the dance factory. The choreography might be a little more avant-garde, although I've always tried to be a little different to everyone else, so actually no, I don’t prepare that much differently.

ST: There have been many skaters from your “era” marrying and having children lately – will you be following this trend as well?
DB: I'm still so active that I haven’t really had time for kids. Regarding the marriage thingy, I'm very happy in the relationship I have had with my partner for the last 23 years.

ST: Throughout your career, you have been noted for your more avant-garde style of skating. How do you go about creating a program? Please describe the process.
DB: Sorry, trade secret. (Smile)

ST: Looking back on your professional career, which programs of yours do you feel a particularly special connection to? If you had to choose a signature piece, what would it be?
DB: Of course every new program is very special because it is new, but if I had to choose one in particular, it would be that to Water Fountain by David Foster, choreographed by Robin Cousins. (Note: Denise debuted Water Fountain at the 2001 Summer Nights on Ice show in Germany).

ST: If you could choose one choreographer whom you haven’t worked with previously to create a program for you today, which would it be?
DB: Alvin Ailey.

ST: In your last professional competition, you skated against Tara Lipinski (at the 1999 World Pro) and finished a close second. Eight years after her gold, Lipinski has quit the sport, while you continue to train and perform regularly. How, do you feel, have you been able to achieve this longevity while many younger stars are succumbing at early ages to injuries? What’s your "secret"?
DB: I don’t feel that the injuries of the younger skaters have anything to do with this. I've always performed along side younger skaters (and still do). I believe that always makes a show interesting. But I guess the secret is that I still love skating and performing; I always have new, different and original numbers. I've never burnt myself out, always lived seriously and taken care of my body in the form of massage, foot reflex, healthy food, etc. For me, skating is a passion.

ST: What are your thoughts on the ISU’s New Judging System that awards point values for each element performed? Do you continue to follow the current world of Olympic-eligible figure skating?
DB: Sure I still follow today’s figure skating and generally I think the new system is OK, because the best all-rounder gets what they deserve, although I still think it’s a shame (for the public) that there isn’t a 6.0 anymore.

ST: The New Judging System rates the spin which you popularized and was named after you as among the most difficult to perform. Why do you think this is? How do you feel about seeing so many skaters incorporating the spin into their programs?
DB: I think this spin is included in the Rating System because it is a unique maneuver. It’s always a thrill to see skaters doing my spin. It's very special for me that is in the Rating System and, of course, I'm quite proud.

ST: Overall, how are the skaters today faring with their attempts at performing Biellmanns and other catch-foot variations? Are there any particular skaters that you feel are mastering your move better than others?
DB: I think on the whole they are doing really well and of course Irina [Slutskaya] comes to mind immediately. And of course it was fantastic to see Evgeny Plushenko do it.

ST: Do you feel that the New Judging System is successful in limiting the effect that backroom politics could have on results? In your experience, do you feel that political bias has historically had a strong influence on results of major events?
DB: Generally I think it is much better this way and it might have effect on the backroom politics, but I personally never felt it had any major influence in my time.

ST: How do you think you would have done had the current judging system been in place at, say, the 1980 Olympics?
DB: Not wanting to appear big headed, but I think I would have done a lot
better than fourth at the 1980 Olympics. Taking into consideration that there would
have been no figures, I could jump all 5 triples (including the Lutz), I had a wide range of spins, and I had good steps (for that time). I think as was a good all-rounder and I did win the free skate there.

ST: Is there any truth to the rumor that you have one less vertebra, allowing you to more easily achieve many of the amazing spin positions that you do?
DB: (Smile/laugh) No there's no truth whatsoever – I really don’t know how that one got started...

ST: Who would you like to see standing on the top of the podium at the Olympics in Torino? What are your thoughts on the chances of your compatriot Stephane Lambiel in particular?
DB: Sarah Cohen or [Michelle] Kwan in the women’s competition and in the men’s competition, Evgeny or Stephane. Stephane is a really good challenging skater, a great all-rounder and he is a very serious competitor for Evgeny. I hope that the best one on the day wins.