....With Preludis he gets to touch the audience at two different levels. At first sight, due to a perfect control of the body and supreme gracefulness, he offers subtle movements of all kinds, from pure styling to sharp contractions, playing a game of antagonisms full of nuances and purified beauty that leads the audience to a world of freedom for suggestions.........Gelabert shows in these Preludis his capacity of creating with his body a perfect machine endowed with heart and intelligence, which backs him as one of the main figures of international contemporary dance.

MARTA PORTER
AVUI
2002

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A way of understanding dance that concentrates all the protagonism in the body....

......touches the audience by different ways, among them the emotional one; in which, the musical support (20 preludes of Bach, Chopin, Debussy, Mompou and Carles Santos) is definitely vital. Upon this support (the six compositions of Santos are recognisable at once) rely the most captivating moments of the event, with some sequences embedding an extreme sensitivity and others where the dancer expresses the wildest rage..........

GONZALO PÉREZ OLAGUER
EL PERIODICO
2002

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....For Preludis, Gelabert’s first solo after five years, Amat created a scenery as a huge clock. A surreal clock in which numbers come from twisted structures that finish in the shape of red tears. This means a provocation for the audience, which stays stuck in a garden or a prison: imagination is free to decide. The dancer walks boldly up and down in a quadrilateral space. Wise or candid, hedonist or austere, Gelabert plays with every hour, with every moment, with every instant. He is unhurried, the audience is accomplice. Slowly, minute by minute, he expresses through his gestures a mound of experiences. His path spreads energy, but it is also flighty sensual...
...What really captivates the audience, hypnotically, is the capacity of movement of the dancer. All the suggestions of the dancer about the perceptions of the five senses, as well as his raving through life, fade away. What really focuses the attention of the audience is the dialogue of Cesc Gelabert’s arms, wide and close, and his dancing codes, branded with a safe turn and an ineffable look, impossible to be catched. Preludis is, in essence, a Gelabertian piece.

CARMEN DE VAL
EL PAIS
2002

.....a Preludis aconsegueix commocionar l’espectador a dos nivells. A primer cop d’ull,gràcies a un domini perfecte del cos i a l’us d’una elegància suprema, ofereix tota mena de moviments subtils que van de la pura estilizació a la contracció més brusca creant un joc d’antagonismes ric en matisos i d’una bellesa depurada que aporta a l’espectador la llibertat del suggeriment......Gelabert mostra en aquests Preludis com ha aconseguit construir amb el seu cos una màquina perfecta dotada d’un cor i una intel-ligència que l’avalen com una de les primeres figures de la dansa contemporània internacional.

MARTA PORTER
AVUI
2002

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......le llega al espectador por distintas vias, entre ellas la de la emoción; una vía en la que el soporte musical (20 preludios de BACH,CHOPIN,DEBUSSY,MOMPOU y CARLES SANTOS) es definitivo. En este soporte (las seis composiciones de SANTOS se reconocen al instante) se apoyan los momentos más seductores de la obra, con consecuencias de una extrema delicadeza y otras en la que el bailarín es poco menos que una furia desatada.......

GONZALO PÉREZ OLAGUER
EL PERIODICO
2002

.....Wearing a pagoda-shaped cap, he is the master who strives for self-elevation and self-heightening. A feverish state of inebriation. Then the body, which needs support, appears fragile.
Cesc Gelabert focuses also on the freedom of re-creating oneself all over again.......His solo moves back and forth from internalization to relinquishment, from ecstasy to silence.........

SANDRA LUZINA
DER TAGESSPIEGEL
2002

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......Gelabert is more the dance virtuoso who can draw from a much broader repertoire of movements. And when he shows this, before he creeps back to slow motion, in an allegretto style, then it becomes an amazing pleasure, which is nowadays rare. A digression to ballet in a thankfully unsentimental self-observation, which gradually gets more concise, more concentrated and therefore somewhat shorter.

EVA-ELISABETH FISCHER
SÜDDEUTSCHE ZEITUNG
2002

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.....The dance solo of Cesc Gelabert, performed as a conclusion of the dance winter series, however, is anything else than a prelude. On the contrary, "Preludis" wants to take stock of the whole life of a dancer. The strict composition of the piece which literally moves clockwise through a circular stage set and in the same time, one passage after the other, becoming more and more concentrated and concise, stands in curious contrast to the free, almost loose form of his dance material. Every shifting of weights, every lifting of an arm, every tendu seems to be preceded by a decision of general principle, so that the performed movement appears as something unopposed. Everything seems as if the dancer decided every single movement of his own free will, and not because his joints, the space or the history allowed or denied it to him.

FRANZ ANTON CRAMER
FRANKFURTER ALLGEMEINE ZEITUNG
2002