Singles Performance Timeline
Tournament | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | W–L | |
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Grand Slam Tournaments | |||||||||||||||
Australian Open | A | 3R | 2R | 2R | 2R | 3R | 4R | 3R | 1R | A | 1R | 1R | 3R | 14–11 | |
French Open | 2R | A | 1R | 3R | QF | 2R | 1R | 2R | 2R | 1R | 2R | QF | 1R | 15–12 | |
Wimbledon | 1R | A | 1R | 2R | 2R | A | 1R | 2R | A | A | 1R | 2R | 1R | 4–9 | |
US Open | 1R | A | 4R | 3R | 1R | 1R | 1R | QF | A | 2R | 2R | 3R | A | 13–10 | |
Win–Loss | 1–3 | 2–1 | 4–4 | 6–4 | 6–4 | 3–3 | 3–4 | 8–4 | 1–2 | 1–2 | 2–4 | 8–4 | 2–3 | 46–42 | |
ATP Masters Series | |||||||||||||||
Indian Wells Masters | A | 1R | 3R | 2R | QF | 3R | 2R | QF | 3R | 1R | 1R | 3R | 2R | 12–12 | |
Miami Masters | A | 1R | QF | 3R | 3R | 3R | 4R | QF | 2R | 1R | 2R | 2R | 2R | 13–12 | |
Monte Carlo Masters | 3R | A | 3R | QF | 3R | 1R | 2R | 2R | 1R | 2R | A | 1R | 1R | 12–11 | |
Rome Masters | 1R | A | 2R | 2R | 1R | 2R | 1R | QF | 1R | 1R | 1R | 3R | 1R | 8–12 | |
Madrid Masters | A | A | 1R | QF | 2R | 2R | 2R | 2R | A | 1R | 2R | 1R | 1R | 6–10 | |
Canada Masters | 1R | A | 1R | 2R | 3R | 1R | 1R | 1R | A | A | 2R | 1R | A | 4–9 | |
Cincinnati Masters | 1R | A | 1R | 3R | 3R | 3R | 3R | 2R | A | A | A | 1R | A | 9–8 | |
Paris Masters | A | A | 1R | 1R | 1R | A | 2R | 2R | A | A | 1R | A | A | 1–6 | |
Hamburg Masters | A | A | 3R | 1R | 1R | QF | 1R | 2R | 2R | Not Masters Series | 7–7 | ||||
Win–Loss | 2–4 | 0–2 | 11–9 | 12–9 | 10–9 | 9–8 | 7–9 | 12–9 | 2–5 | 1–5 | 3–6 | 3–7 | 0–5 | 72–87 | |
Career Statistics | |||||||||||||||
Titles–Finals | 1–1 | 0–1 | 1–3 | 0–0 | 1–1 | 0–0 | 0–2 | 1–1 | 0–0 | 0–0 | 2–2 | 0–1 | 0–0 | 6–12 | |
Year-End Ranking | 63 | 70 | 23 | 38 | 26 | 39 | 33 | 20 | 140 | 73 | 38 | 29 | 176 |
Read more about this topic: Juan Ignacio Chela
Famous quotes containing the word performance:
“The audience is the most revered member of the theater. Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.”
—Viola Spolin (b. 1911)
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