PATIOS

Apart from renewing our acquaintance with the music, the occasion was a reminder of the considerable interpretive talents of a dancer who for a long time worked as an associate of Michèle Anne De Mey… We want to see more…

Christelle Prouvost & Jean-Marie Wynants, Surprises and discoveries to follow, Le Soir (BE), Aug 31, 1992

Olga de Soto impressed me beyond my expectations. Working in a musical environment eminently suited to her rigorous, headstrong and creative temperament, she came up with a performance that was well-structured and intensely personal. Dancer and music were in perfect harmony, imbuing the whole piece with an air of consummate balance. The raw power emanating from de Soto was made almost tangible through the deft use of her creative skills: a rare delight indeed. Olga de Soto is something of a trailblazer, and we have not heard the last of her yet. She no doubt still has much to say: a time bomb just waiting to explode.

Jacques Duruisseau, (BE), Aug 31, 1992

With Olga de Soto, former dancer with Michèle Anne De Mey, there was emotion in the air. Interior, inhabited, the solo dancer vibrated her libertarian struggle on études for piano by Debussy, composed in tribute to Chopin.

Claire Diez, Great night of Overdance, up to trance…, La Libre Belgique (BE), May 19, 1993

Olga de Soto came next with her solo Patios, performed and choreographed by a dancer increasingly astonishing. Olga de Soto is overflowing of energy and conviction, and each movement finds its place in a seductive set to the music by Debussy.

Jean-Marie Wynants, One last home straight, relaxed and bounding, Le Soir (BE), May 18, 1993

In June we could see a modest but very meticulous and polished performance of a former solo dancer from the Belgian group of Michèle Anne De Mey, who works mainly on her own choreographies now, a Spanish girl named Olga de Soto. Now it may not be that important to know that she studies at different art schools, first at the Music and Drama Conservatory in Valencia, later at the International Institute of Classical Dance of Madrid and finally at the prestigious CNDC (State School of Modern Dance) in Angers (France). What is more fascinating is how this girl aged twenty-two has dissolved her acquired technique into her own but also not too extravagant style. Through her individual style she can express (not only illustrate) all the movements and emotional subtleties of Debussy's piano compositions in her piece Patios. It was a wonderful experience.

Miroslava Filipova, At Duncan Center for the first time after Summer holidays, Denni Telegraf (CZ), Oct 15, 1994

Enthusiasm also for the choreography Patios. Debussy soulful piano compositions got here a new dimension through Olga de Soto's interpretation. Beautiful, earthy - real. Bergen's first dance festival got truly a great opening!

Ase Løvset Glad, Ja!, Bergens Tidende (NO), Sept 10, 1993

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