JULIO LOPEZ has worked with refined art and has explored the opposition of Vivaldi and Piazolla, until he finally gets very beautiful solutions, magnificently performed by the lightness, the technical accuracy and expression of Julio Bocca, Eleonora Cassano and all the group.
EL PAIS (España 01-08-90)

"A scene with heartrending shades which contrasts with the crude and blunt rythm of the drums and the bandoneon".
Berligske Tideude Denmark, 23-08-90)

But the approval was shown in an admiring and amazing applause in the presence of “DOS MUNDOS”.
Performed by Cassano and Bocca with depth and faultless technique.

This ballet was acclaimed at the International Festival of Santander (Spain)

Guerra was forever shirtless and forever driven to dance bigger and higher than anyone else.
DANCE MAGAZINE (U.S. June 1989)

"CONTRABAJO...” shows the best of Mr. Guerra.
BUENOS AIRES HERALD (Argentina)

It was in “CONTRABAJO PARA HOMBRE SOLO”, with JULIO LOPEZ’s unparalleled unique choreography, where Guerra managed to hipnotize – if there exists a higher aspiration than that.
LA NACION

The theatre vibrated in full tension. Astor Piazolla was full of enthusiasm with the choreographic version.
LA PRENSA (Argentina 19-02-90)

The design of “CONTRABAJO ...” is a work of art created by JULIO LOPEZ, a choreographer who does not get lost in superfluousness.
CLARIN (Argentina 15-02-90)

Wonderful. “CONTRABAJO PARA HOMBRE SOLO”
ULTIMAS NOTICIAS (Uruguay 13-02-90)

Brief and intense “CONTRABAJO ...”, lifting up Guerra as both interpreter and dancer, before enthusiastic audience.
LA MAÑANA (Uruguay 18-02-90)

JULIO LOPEZ tells his story crisply, through expressive bodies assuming stylized shapes and through a few shocking images.
THE NEW YOUR TIMES (U.S. 01-04-93)

“A magnificent choreographic creation by JULIO LOPEZ.” “Excellently solved by a sensitive and imaginative choreographer”.
CRONISTA COMERCIAL (Argentina 1988)

“Lorquian images, such as power, dignity, lack of communication, sexual repression and
religious erotism were there”.
BALLETSCOPIO (Venezuela)

“The choreographer created a wonderful parallelism between the true reason of Lorca’s death and Adela’s death.” “Every step, every gesture has a meaning”.
DELO (Eslovenia, May 1991)

“JULIO LOPEZ, probably the major revelation of the new generation of Argentine choreographers, intertwins desire, fear, love and lust for power in such a perfect manner that step by step the struggle triumphs over any musical limitations”.”
CLARIN ESPECTACULOS (Argentina 23-08-87)

“Rosetti and Bocca captured the pride of tango” “... aren’t to be compared with pale imitations that have cropped up in N.Y.C.”.
DANCE MAGAZINE INTERNATIONAL (U.E. January 1988)

“JULIO LOPEZ, a choreographer with a very defined line of work.” “...This is very good for Julio Bocca, who gives a great amount of artistry”.
LA NACION (Argentina 15-08-87)

“A choreography in which seduction, anger, rejection and tenderness are all perfectly expressed”.
BUENOS AIRES HERALD (Argentina 25-08-88)

Staged with a refined and decisive stroke that urges to reflection rather than to shallow enthusiasm; it moves painful patterns. Amazing pre-ending.
LA NACION (Argentina 23-09-90)

Electrifying choreography. Very well selected score.
NOTICIAS (Argentina 30-09-90)

Plissetskaia... it will be hard to imagine another Clitemnestra.
CLARIN (Argentina 23-09-90)

"Julio Lopez: one the most talented Argentine choreographers...!"
La Prensa, Argentina 24-09-90

Argentine JULIO LOPEZ manages to find the balance between the demanding beauty of dance and the narration of movement. What attracts the public most is the theatrical action, the direction and the choreography, all developed between the boldness of the contemporary dance and the theatrical movement, which is self-explanatory.
DELO (Eslovenia 09-03-96)

Excellent transition between each and every action and very well characterized figures... Within a dynamic and contemporary perception of ballet, JULIO LOPEZ has managed to stir up dancers in a manner unseen since long time ago. The director has taken into account the different technical skills, transferring the essentials of the dance to the theatrical effects.
SLOVENEC (Eslovenia – March 1996)

Julio Bocca is the god of marvellous and magic ballet. Dazzling, at the level of the most outstanding international productions. The final scene gets such a magnificence and exhaltation very difficult to put into words.
EL CRONISTA COMERCIAL (Argentina 5-11-91)

JULIO LOPEZ stages his most ambitious work. Poetic charge which becomes almost the reason of its existence as work of art. Creative personality.
LA PRENSA (Argentina 03-11-91)

“KUARAHY” looks great and seems to have everything you could wish for. The audience was applauding wildly. I applauded “KUARAHY’S” ambition, its boldness and intention.
BUENOS AIRES HERALD (Argentina 06-11-91)

Ideology and beauty in popular ballet. JULIO LOPEZ uses movement to communicate emotions, and finds in the leading actor a superlative vehicle for his purpose. With disquieting political and historical connotations.
PAGINA 12 (Argentina October 93)

This is one of the most ambitious superproductions made in dancing. Exquisite refinement in the two pas de deux. Atmosphere of dazzling irreality. Excellent version.
LA PRENSA (Argentina 08-10-93)

“KUARAHY” shows power and excellent maturity in both the choreography (great work by JULIO LOPEZ) and the interpretations. BOCCA plays his Kuarahy with passionate and heart-rending art and uses his spectacular technique to bring light to a character subject to extreme physical strain.
NORA LAFON (Argentina 07-10-93)

The performance has all of the visual and emotional attractions to capture the heart. Very intense moments. Duets of exquisite performace and painful feeling. A dazzling show.
SILVIA GSELL (Argentina, October 1993)

“KUARAHY” shows an superb level. Intelligent and audacious, this ballet is 100 % Argentine. JULIO LOPEZ has conceived both a monumental and moving staging. The final scene reaches a point of a really dazzling apotheosis.
MAGRINI – NOTICIAS (Argentina – October 1993)