A diffuse softness, an underlying humour, and above all the tensions, audaciously pushing the bodies to the limits of their articulations within a strange calm, impossible positions held until there is no force left – all while the music ceaselessly approaches the shores of silence. Flesh and notes, choreography and composition: Olga de Soto continues to explore the poles of a reflection which winds itself from time to space, from vision to hearing. There are in Éclats mats a waiting and an impatience; transience and certainty; drive and action; personalities and the masterly generosity of the sobriety.
Olga de Soto's work is multi-faceted: it deploys from its initial concepts that are each time renewed, yet always remaining concentrated on that single generating factor which is contemporary music. The music does not only serve as a decorative accompaniment or an emotive receptor of the audience, as is the case too often: it is mostly a place of confrontation, the stage set for experimentation. The accomplishments of the composers of the century, not only concerned with musical combinatorials, but also touching timbres, acoustic sources and their place in time and space, have become a wide work terrain for problematicals and materials. (…) This is Olga de Soto's case; highly cultured and endowed with a solid musical training, she is one of those young contemporary dancers who are able to re-invent the reason for a work. For her, the writing of choreographies does not envisage a spectacular product, but an oeuvre of dialogue and questioning. In her work, Olga de Soto develops dialogues with possibilities of wide-ranging syntaxis and sensoriality. The most important dialogue remains, however, the one taking place between the dancers' bodies in sound and gesture, breaking limits and collapsing definitions and frameworks.