I posted a translation of it on FSUniverse message board...here it is:
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The Choreographer of the Stars[/glow]
Salomé Brunner ° On the eve of the Swiss Nationals that begin tomorrow, the Zurich-native evokes her collaboration with Stephane Lambiel & Sarah MeierAriane PellatonShe shapes the success of the bests. Being a former skater, Salomé Brunner is responsible for the choreographies of Stephane Lambiel, 2 times World Champion, and Sarah Meier, European silver medalist. Back in 1998, she polished the one for the Russian couple Angelika Krylova & Oleg Ovsiannikov that later won the World title. "I've received this hope from Heaven" slides in Salomé Brunner. What was her role in the shadow of the stars? "It's a privilege to accompany them. I've given some of my influence. If they weren't the athletes they are, they wouldn't skate at this level." Coming back from Cup of Russia with Stephane Lambiel, she breaches to welcome us in her hectic rythm that is hers...Thoughtful, caring.
Interviewer: Sarah Meier presents 2 news programmes, Stephane Lambiel a new short programme, on "Carne Cruda" tango. Which are their characteristics?Sarah develops a romantic line, very smooth, very fluent. On his side, Stephane loves agressive themes, the rythms that are requiring high speed. Especially this year. I've noticed that he's very interested by that. Why? He's always in pursuit of new styles. Is the virile side involved in it? Certainly. More than ever. This season Stephane also gained a bigger capacity of moving faster. As an example the movements that he's set up are extremely difficult. He feels this virtuosity. Therefore this music is necessary. "Carne Cruda" distills til the microscopic tiny bit everything that composes his body and spirit.
At the beginning of the season, do Stephane Lambiel & Sarah Meier have a vision of their choreographies?Sarah has got some ideas, but she doesn't dare to externalize them. She doesn't give enough value to them. When I suggest a movement, I can see that she has already understood and was already at that point. Stephane looks for the difficulty. Is it delicate to manage? It gives me energy. It's crazy: if every piece of the choreography is achievable, the assembling, on the other hand, turns out to be very arduous. When we create a new programme, we have the hope that he's gonna be able to achieves it, but we don't think it's gonna be possible. Without this impression, Stephane doesn't stay motivated very long...
In which way do you transcribe again those differences?Stephane improvises a lot. Before 2005, he very often followed my suggestions. Today it's more him that creates, and I choose in his repertory. The external viewpoint allows him to find his gestures. Regarding Sarah, she needs my propositions. She observes the movements, copies them and adapts them to her own body. Because for all the dancers, there are postures where we don't feel at ease, not quite commensurate to our morphology & our character. Regarding assimilation? Sarah has always had recourse to changes on the technical side. More than Stephane. But the difference lies mostly in the structure of the programme...
You've frequently raised the creativity of Stephane Lambiel...Yes. Last summer, when he joined the training camp in Oberstdorf with the national team, he was coming back from Japan. He had notably hanged around with a group of Spanish skaters and he felt the atmosphere of this country positively. Since that, he came home with an impressive creative energy. During 2 hours, he hasn't ceased to show me music pieces and movements. Like rarely.
Where does he take his inspiration from?Stephane observes and stays opened to ideas. He puts his energy in it. Furthermore, he possess a huge capacity of movement, force and speed. While improvisating, he produces gestures never seen before, out of the repertory. When we catch them we don't let them go.
How is a choreography worked out?We begin in May-June. I try to find gestures that matches the music. It's a style research. I often base it on improvisation, in order not to fall into the routine. Because in figure skating, we don't have many possibilities to avoid it: spins and jumps already bring one. Sometimes, we first lay elements. Or we work on the segments that we're most interested in: in the music, in the movements, in the strong points of the programme.
What do you privilege?Honesty. The movements must imply the whole person. Come from the soul and have a signification, in opposition with the mecanical gestures. Besides, the programme has to be composed of both innovative music and gestures. Sometimes I'm bugged at seeing that some take back music pieces that have pleased people 20 years ago...For young athletes that can't be interesting. World has changed. Skaters are people from today!
What is the importance of choreography?Everything gets conjugated as a whole. Technique is fundamental. Like choreography and the other aspects. In Stephane's LP, technical elements appear as a supplement. Accent is set on choreography. Therefore, the preparation for the jumps is very short. When one achieves it to show technical elements in a programme like this, it's marvellous.
You're the guardian angel of Stephane. Have you got more contact with him than with Sarah?Yes. Sarah trains with her aunt. Together they build a real strong team. At the beginning of our cooperation, I've followed her a bit. I've sensed that my presence was useful for the setting of the programme, but not necessary anymore after that. Regarding Stephane, I'm a quiet pole. I act as a counterbalance when he gets angry, if he's got the impression there's a energy against him, or if somebody or something annoys him.
Since the 11 years you've spent time with him, does Stephane still amaze you?Yes, often. In margin of a gala in St Petersburg, we were listenign to some music pieces in a café, on a CD player. After his stay in Japan, he's come along with a total different music piece that the one we had chosen. Sometimes, music pieces appear! Another story: during my whole life, I had never thought about a zebra while listening to Vivaldi! While he was suggesting it, I shrieked! Of surprise. At the beginning of that half-an-hour of him telling me the story, I was shocked. Afterwards I totally got it.
How can Stephane and Sarah progress?Both always have a big desire to come forward. Sarah is so pretty, so sweet. She doesn't commit mistakes while taking this path. But I would like to find her new themes. I'm already looking for them. As to Stephane, I finding it important to take completely different directions. In order not to fall into a single style that fits him well.
Is it hard to orientate those choices?Sometimes, I was having a very clear vision. However, the person to whick I was presenting the idea wasn't showing any interest or pleasure. In Stephane's case, I would not have the idea to choose certain music pieces. But in the end, only him has to draw energy from it.
it's a pity coz it's really interesting... please wait, I'll try asap... 
This is very interesting. Today is a good day for articles it seems. 
Could anybody please post the French text of the interview (maybe as a .doc file or something)? 
