PAR UNE MAIN OU PAR LE VENT MAIS L'AIR EST IMMOBILE

This time it is the music that inhabits the dancer's body and not the opposite. A music both light and aerial which vibrations provoke in the body a joyful possession, an insolent spell.

Jean-Marie Wynants, A Journey Inside Music, Le Soir (BE), Nov 29, 1999

By a hand or by the wind but the air is immobile (majestically danced by Olga de Soto on Sciarrino's Canzona di ringraziamento) is an 'intuitive analyses of the music', an immediate choreographic translation of a 'simply sensorial' perception of the composition. 

 Myriam Blœdé, Irritation and abundance at The Galerie, Cassandre (FR), Feb 2000

In this choreography, the dancer goes to her very limits and the very limits of her movements. Upon each note of the composition for flute, she places a gesture, moves a muscle. Her waist and thighs vibrate (despite her openly pregnant condition), her body trembles to the rhythm of music, which flutters in the wind.

Marta Carrasco, Lights and Shadows of the Dance, ABC (ES), Jan 27, 2002

In the solo Par une main ou par le vent mais l’air est immobile, Olga de Soto draws in the space with frenetic strokes, as if possessed. After the evening’s very audacious overture, by the flutist Mario Caroli, her arms, extending to infinity, stretch and release into a dance that is at once anguished and terribly sensual.

Charo Ramos Reyes, Possessed by the Wind and the Black Light, Diario de Sevilla (ES), Jan 27, 2002

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