The professor starts the explanation at the end of the movement: when the player is at the climax, it is advisable to imagine a soprano singing (Maria Callas). The professor gives indications on trill fingerings, the dramatic meaning of a repetition - and the need to highlight - and the way to play the spiccato, like jumping.
After those corrections, they work on the movement from the beginning: bowings with a prouder character, articulation to clarify all the notes - involving a change of character, and more attention to the harmonic changes, the bowings and the way to get more drama.