Singles Performance Timeline
To prevent confusion and double counting, information in this table is updated only once a tournament or the player's participation in the tournament has concluded. This table is current through the 2008 Wimbledon Championships.
| Tournament | 1999 | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | Career Win-Loss |
|---|---|---|---|---|---|---|---|---|---|---|---|
| Grand Slams | |||||||||||
| Australian Open | A | A | Q1 | Q3 | Q1 | 1R | 2R | A | Q2 | 2R | |
| French Open | A | A | Q1 | Q1 | 1R | 3R | 1R | A | Q2 | 1R | |
| Wimbledon | A | A | Q2 | 1R | 2R | 3R | 1R | Q2 | 2R | 2R | |
| US Open | A | A | 1R | Q2 | 2R | 1R | A | Q1 | 1R | 3R | |
| Grand Slam Win-Loss | |||||||||||
| Olympic Games | |||||||||||
| Summer Olympics | NH | A | NH | NH | NH | 2R | NH | NH | NH | - | |
| WTA Tier I tournaments | |||||||||||
| Doha1 | Not Tier I | A | |||||||||
| Indian Wells | A | A | A | Q1 | Q1 | 1R | Q1 | Q1 | A | 1R | |
| Miami | A | A | 2R | 2R | 1R | 2R | Q2 | A | A | 2R | |
| Charleston | A | A | A | A | A | 1R | 2R | A | A | 3R | |
| Berlin | A | A | A | A | A | 1R | A | A | A | A | |
| Rome | A | A | A | A | A | 1R | 1R | A | A | A | |
| Montréal/Toronto | A | A | A | A | A | A | A | A | A | ||
| Tokyo | A | A | A | A | A | A | A | A | A | ||
| Moscow | Q1 | Q1 | A | A | 1R | Q1 | A | A | 2R | ||
| Former WTA Tier I tournaments | |||||||||||
| Zurich1 | A | A | Q1 | Q2 | A | A | A | A | A | NT1 | |
| San Diego1 | Not Tier I | A | A | A | A | NT1 | |||||
| Year End Ranking | 276 | 188 | 148 | 114 | 80 | 90 | 214 | 158 | 97 | N/A | |
1Doha became a Tier I event in 2008. San Diego and Zurich are no longer Tier I events.
Read more about this topic: Tatiana Perebiynis
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)