At about that point, Rozanov left for the Academy Angels of Plushenko. The two sisters changed training bases with him, and Alexandra Trusova was among the skaters they joined there. Over the following years, Veronika collected victories and other high placements in Russian competitions. The account also indicated that international competition could soon become her next step.

The “Hallelujah” program highlighted the artistic-expression side of her skating. Veronika entered carrying a light, which she moved above her head before setting it down on the ice as the routine began. Members of the audience held up their own lights as well, creating a connection between the spectators and the young skater.

Wearing a white dress that complemented her blond hair, Veronika moved through choreography designed to reflect the song’s mood. Her skating was described as flawless, with especially smooth transitions, while the program’s construction conveyed the music’s emotion. The routine presented technical control and expression together, supporting the expectation that artistry could earn her strong scores.

The performance was recommended for viewing, and attention then turned to Alena, whose skating was also suggested for viewers to seek out. Both sisters had started young, committed themselves to demanding training and continued their development after moving from Arkhangelsk to Moscow. The final expectation was that Veronika and Alena, each regarded as talented, had remarkable skating careers ahead of them.