Without doubt, the present cast of the company is one of the finest in its long history (...)
As for the dancing, the choreographer has created a language of gestures that is both elegant and subtle, in perfect symbiosis with the ironic tone and burlesque fantasy of Satie’s work; the contemporary phrases are enriched by elements of classical dance, creating a sophistication that will enthral lovers of dance.

Carmen del Val (El País) 04.03.05

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The six performers, full of idiosyncrasy thanks to the intelligent and imaginative costumes designed by Lydia Azzopardi, create an unusual group of characters who offer a blend of the bohemian and the sophisticated, and whose choreographic relationship is defined by eccentricity, as well as a contained intensity. A perfect 28-minute piece.

Rosli Ayuso (El Mundo) 05.03.05

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Psitt!! Psitt!! is intended as a tribute to Eric Satie, from whom Cesc Gelabert takes some of his unusual character instructions (...), brilliantly reexpressing these in the language of dance, and establishing the framework that has inspired Pascal Comelade to create a calmly festive, luminous composition, which arouses pleasant and pleasurable emotions. Caravan (...) is more provocative and sensual in tone. Visually more austere, it offers memorable solos and exquisite duets.

Núria Sàbat (El Periódico) 05.03.05

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The charm of Psitt!! Psitt!! lies in the way that it successfully combines the power and the control that are characteristic of Gelabert’s solos with an air of magical enchantment, full of superb little nuances, (...) Almost imperceptibly, with each little gesture, the movements and the images that these evoke flow with extreme simplicity and surprise the spectator with their intensity.
There are moments of sublime beauty, created by the imaginative and evocative costumes of Psitt!! Psitt!! or by the play of light and the purity of line to be found in both pieces.

Joaquim Noguero (La Vanguardia) 04.03.05

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Psitt!! Psitt!! has a touch of nostalgic surrealism reminiscent of scenes from Belle Époque and Fellini’s 8 1/2. (...)
Gelabert creates a mood halfway between the circus and a congenial local festivity, maximising the expressive capacity of his dancers, who each have their own very different character, (...) mention should also be made of the attention to detail of Lydia Azzopardi’s costumes… it is as if colour has been breathed into the world of Dickens.

Marta Porter (Avui) 04.03.05