Not long after Ben Agosto switched from singles skating to ice dance at age 10, he faced up to the reality that winning medals on a global stage might be impossible for a U.S. ice dancer.

Why wouldn’t he think that way, given the evidence? After all, one of his first coaches, Susie Wynne, had retired from competition after finishing fourth at the 1990 World Championships with Joe Druar, having decided, as she puts it, “We had topped out. That was the best we could do.”

That fourth place would, in fact, be the best finish for a U.S. team at worlds over nearly two decades since Judy Blumberg and Michael Seibert won their third straight world bronze in 1985, a span in which Soviet and Russian teams won 15 of 18 world titles, four of five Olympic titles and nine of 15 Olympic medals.

Until Agosto and Tanith Belbin ended that drought in 2005.

Whenever I saw Mao Asada skate well, which she did often, I was reminded of the second line in one of the most famous arias in the operatic canon, "La Donna è Mobile," from Verdi's Rigoletto.

When you get past the trope of the aria's title and opening verse, which scoffs at women for being flighty, you come to the nature of the flight: "qual piuma al vento" -- like a feather in the wind.

That is the best description for the way Asada moved on the ice, even in the later years of her career, when she added the mature elegance of a woman in her mid-20s to the jump that had separated her from nearly every other woman in the sport over the length of that career.

She became lighter than air.

That is how I will remember Asada, who announced her retirement Monday at the age of 26. The timing was a surprise, even if her struggling performances and knee problems over the past two seasons made it clear the time had come.

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They sparked two decades of U.S. ice dance excellence

Asada's legacy of grace and grit will last forever.

Globetrotting by Philip Hersh

Philip Hersh @olyphil on X and Insta