OLYMPICS: Kagiyama's 'Turandot' programme highlights music's impact in figure skating

When Japanese figure skater Yuma Kagiyama launches into his free program under the Olympic lights at the Milano Cortina Games next month, the sweeping notes of “Nessun dorma” are sure to resonate with the Italian crowd—a special nod to the city where Turandot premiered 100 years ago.

In figure skating, music is more than just accompaniment. It drives the emotional core of each performance, guiding the pacing and timing of every jump, spin, and lift, with the power to electrify an arena.

Kagiyama, a medal favorite in men’s singles, will skate to composer Christopher Tin’s specially edited four-minute version of his own Turandot ending. The piece was crafted with choreographer Lori Nichol to align perfectly with the precise musical rises, rests, and crescendos that competitive skating demands. Tin and his family will be in the Milano Ice Skating Arena to cheer Kagiyama on.

"It’s probably the coolest thing that’s ever happened to me," Tin told Reuters. "To have this big showcase for a new recording 100 years after Turandot’s premiere, in the city where it debuted, at the biggest global event in the world—I can’t think of anything bigger."

A two-time Grammy winner, Tin’s music career spans video games, songwriting, and beyond. His opera work began when Francesca Zambello, artistic director of the Washington National Opera, discovered his composition for the video game Civilization VI and invited him to create an opera ending for Turandot. This marked the fifth completion of Puccini’s unfinished masterpiece.

Celebrating 100 Years of Turandot

Tin’s connection to figure skating began with a message from Italian world champion Carolina Kostner. Choreographer Lori Nichol had become a fan of Tin’s music, and soon Tin and Nichol were collaborating.

"She told me she had a skater, Yuma Kagiyama, looking for music," Tin said. "With the 100th anniversary of Turandot, there would be plenty of Nessun dorma performances, but we wanted a version that felt fresh and new. Your new ending fits that bill perfectly."

Recorded over two days at London’s Abbey Road Studios with the Royal Philharmonic Orchestra, the English National Opera Chorus, Grammy-winning soprano Christine Goerke, and tenor Clay Hilley, the piece was then carefully condensed to just over four minutes for Kagiyama’s routine. Tin and Nichol spent hours mapping each musical cue to skating elements, ensuring every lift and jump aligned perfectly.

Different Approaches, Same Power of Music

Kagiyama won’t be the only skater showcasing bespoke music in Milan. American Ilia Malinin, a leading contender for men’s singles gold, has taken a different approach with his free program, “A Voice.” Malinin’s own voice appears on the soundtrack, reciting lines like “The only true wisdom is in knowing you know nothing” and “Embrace the storm,” offering a meditation on pressure and possibility.

Canadian ice dancer Paul Poirier, twice world medalist with partner Piper Gilles, stressed the central role of music in skating. “It is the foundation of everything—the movement, the choreography, and the emotional arc of the program,” he said. Poirier and Gilles are reviving their free dance from seven years ago to Don McLean’s “Vincent”, covered by British duo Govardo, with whom the skaters have developed a close creative bond.

Film music continues to inspire. Reigning Olympic ice dance champion Guillaume Cizeron of France, paired with Laurence Fournier Beaudry, was moved by the soundtrack of The Whale and worked with former skater Stephane Lambiel to craft a lyrical free dance around the score.

Whether it’s Kagiyama skating to a reimagined Puccini, ice dancers telling stories through film scores, or Malinin channeling his inner voice, music is poised to shape the defining moments of the Milano Cortina Games like never before.

-Reporting by Lori Ewing; Editing by Ken Ferris/Reuters