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NEW YORK (Reuters) – Naomi Osaka ended Victoria Azarenka’s dream streak to claim her second US Open title in three years with a 1-6 6-3 6-3 comeback on Saturday that cemented her status as the leading light in the sport both on off the pitch.
Unlike the 22-year-old Japanese’s first US Open win in 2018 over Serena Williams, which was played in a foam-filled Arthur Ashe Stadium, Saturday’s drama unfolded in an eerily quiet arena when health protocols and COVID-19 security prevented fans from entering the Billie Jean King National Tennis Center.
But the lack of noise in the stands didn’t stop the two former world No. 1s from producing a dazzling display of shots.
When Osaka claimed a third Grand Slam title, Azarenka was denied a US Open crown for the third time and also finished runner-up in 2012 and 2013.
Still, it was a remarkable and unexpected race for the 31-year-old Belarusian, who reached her first grand final in seven years.
It was the second time in two weeks that Azarenka, a two-time Australian Open winner, and Osaka had prepared a final showdown. The pair were scheduled to meet in the final of the Western and Southern Open on August 29 until Osaka withdrew due to a hamstring injury.
“Actually, I don’t want to play with you in more finals,” Osaka told Azarenka with a smile during the victory ceremony.
“I really didn’t enjoy that.
“That was a really difficult match for me.
“And yeah, very inspiring to me because I used to watch you play here when I was younger, so having the opportunity to play with you is really cool and I learned a lot.”
COVID-19 ERA
The presentation ceremony showed the precautions that everyone has had to take during the COVID-19 era, with the two finalists having to collect their respective awards themselves from a table placed on the court, while everyone kept socially distant for the mandatory photocall. .
As she has done in every game over the past fortnight, Osaka appeared on the court with her left thigh tied up and a mask bearing the name of an African-American victim of police brutality or racial injustice.
For the final it was Tamir Rice, a 12-year-old boy shot by police in 2014 while playing with a toy gun in a playground.
Osaka had already replaced Serena Williams as the main earner and has now assumed the mantle of leadership that goes with it.
With the United States rocked by unrest after the shooting of Jacob Blake, a black man, just three weeks ago by police in Kenosha, Wisconsin, Osaka had pulled out of its semi-final at the Western and Southern Open in protest.
The men’s and women’s tour responded by postponing all matches that were to take place on the day of the protest for 24 hours and persuaded Osaka to play the rescheduled match.
By taking the stand, the 22-year-old activist had made her point clear.
Azarenka, who ended Serena Williams’ bid for a record to equal the 24th Grand Slam title in the semifinals, carried that momentum into the final with a nearly flawless first set.
One of the best returns in women’s football, an energetic Azarenka broke the fourth seed to start the final and two more times in a lopsided opening set that lasted just 27 minutes.
Had spectators been allowed at Arthur Ashe Stadium, they would no doubt have been stunned by the events, as Azarenka swept Osaka again at the first opportunity in the second to go up 2-0.
But Osaka would not lose her composure.
After having no aces in the first set, Osaka, one of the best servers in the game, slowly began to find his mark in the second. She scored five aces while helping herself take three breaks before leveling the game.
In the third, Osaka applied all the initial pressure on an increasingly agitated Azarenka. She took over with a break to push ahead 3-1.
Azarenka would show her fighting spirit with a break to return to serve at 3-4, but Osaka would not be denied, immediately breaking and holding serve to seal the victory.
It was the first time since Arantxa Sánchez-Vicario in 1994 that a player lost the first set of the women’s final and fought back to win the title.
(Written by Steve Keating in Toronto, edited by Pritha Sarkar)
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