Cielo rasO


In Search of a Lost Feather

“From there we have briefly returned to the initial chaotic passages, and in the final scene the blind man's stick has guided the group towards the feather abandoned by an angel, in an unforgettable scene of subliminal significance. A thousand thanks, Calonge, for so generously feeding our impoverished spirits with these images and metaphors.”

Agus Perez, Hâmaïkà. Berria Newspaper, 14-09-2021

Risk and Repetition

“Strength, movement, energy and a simulation of existence from the state of blindness. A blindness of the human being whose actions in life end up being pure repetition. Hamaika means eleven in Basque and is used to define the infinite, what happens a certain number of times, like in the sequences of this sensational production which has not gone unnoticed and which confirms the excellent creative trajectory of Igor Calonge and his company, Cielo rasO. We are grateful for his commitment to risk and creative vertigo.”

José Vicente Peiró, Hâmaïkà. Red Escénica Magazine, 05-11-2021

A Breath of Hope

“A magnificent, intense, nostalgic and extremely poetic solo piece, in which Igor Calonge could represent one of those minuscule characters, as he likes to imagine himself, that occupy the paintings of Juan Genovés. Very small people in their individuality, due to the scale of representation, but which, taken together, create an impressive magma of power.”

Carlos Louredo, Reset. Cine Invisible, 22-10-2021

The Weight of the Stone

“Calonge plays with different possibilities of stage effects, simple but efficient, which keep one’s attention, like the long dress of a woman which becomes a stage curtain, the rain of red plates towards the stalls, a puppet dancer with wooden legs and that final scene of a dancer, like a titan, spinning a stone with the same integrity and dedication with which Sisyphus rolled his stone to the summit, only to have it roll back down again and have to descend to fetch it.”

Omar Khan, Piedra. Danza Susy Q Magazine, 15-03-2019

Inspiring Transcendence

“As usually happens with Igor Calonge premières, Gazteszena hall is completely full, showing the interest awoken by the works of this Donostia native. We soon realise that this has nothing to do with what we’ve seen up until now and, on the other hand, has to do with ideas of personal risk and defence of that in which we believe.”

Agus Perez, Piedra. Berria Newspaper, 30-10-2018

Stone, surprise and emancipation

“With Piedra, Igor Calonge opened XIV Festival Catropexa in the Vigo hall and it was one of the shows in which I have most experienced the virtues of the surprise effect lately, and don’t ask me how, the artistic Piedra of Igor Calonge and his company Cielo rasO has not only overcome the stone in the road of the metaphor by the Brazilian poet Drummond de Andrade, but also other stones that everyone carries in their backpack. Dance and theatre, when they work, possess these graces.”

Alfonso Becerra, Piedra. Artezblai Magazine, 30-12-2018

The breath that designs the dream

“A magnificent work evolved in its own demanding language, but able to be assimilated by spectators thanks to its communicative power.”

Carlos Gil, Jardín de Invierno. Gara Newspaper, 5-09-2018

With Jardín de Invierno, Cielo rasO makes the exceptional seem easy

“Little or nothing can be said about a show like Jardín de Invierno, it is impossible to write a review, not even to praise it. All you can do is enjoy it. Just give thanks to its director Igor Calonge and the performers Marti Güell, Leire Otamendi, Gorka Gurrutxaga and Nekane Mendizabal for offering us such a beautiful show.”

Luis Muñoz, Jardín de Invierno. Tarántula Magazine, 02-11-2017

Cielo rasO, a knockout company

“Because this company deserves to be known and its work enjoyed. What this company does seems to be seen for the first time, despite its reference points, among whom Pina Bausch and Susanne Linke are unavoidable.”

Antonio Hernandez Nieto, Jardín de Invierno. Sul Ponticello Magazine, 01-11-2017

Internal time

“We are faced with a magnificent work of art, physical, rounded and balanced, which goes much further than can be appreciated at first glance. It is a beautiful, transformational, moving event. It is what happens when the performing arts reach excellence and become irreplaceable.”

Carlos Gil, Tormenta. Gara Newspaper, 30-08-2016

In the fragile world of emotions

“As the awaited continuation of a road embarked upon a long time ago, Calonge has offered us a work of the highest level. The trio of dancers have put into images the fragile world of emotions, supported by beautiful musical passages, and it has moved ever further from a possible sterile narrative, in the name of the purity of dance, even if the audience were in danger of losing the guiding thread of the proposal. Suddenly all those pieces which until then were dispersed have come together, and the ascent of emotions has become unstoppable.”

Agus Perez, Tormenta. Berria Newspaper, 27-10-2015

In time and water

“The carefully-placed footsteps formed perfect waves on the surface of the water, and we could all have happily remained thus, gazing at that fascinating beauty, wrapped in the magical respect of the entire audience. In this masterpiece of unmatchable beauty, both masculinist aesthetics and effectisms could have imposed themselves, but that risk was avoided from the outset, because the choreographer was centred with total determination on the quest for pure art, without making concessions, reliant on the tremendous physical preparation of both dancers...”

Agus Perez, Pereza. Berria Newspaper, 1-03-2015

The metamorphosis of Narcissus

“Light comes up on a lake like a black mirror. A naked body appears and slowly describes a parabola walking on the waters that reflect him. Thus begins Pereza by Cía. Cielo rasO, which we had the chance to enjoy last Sunday in the Ensalle Theatre in Vigo.”

Laura Porto Crabeiro, Pereza. O Galiñeiro, 5-12-2015

The erotic flower of laziness

“In the sound space, music alternates with silence and that other music produced by steps and blows from feet and hands, arms and legs, trunk and waist, on the water. Horizontal facedown push-ups in duo, rising and descending alternately until kissing the water, open a range of kaleidoscopic and sensual images drizzled on by the sounds of drops sliding on their bodies. Moments of gathering, as if by magnetic attraction, when Igor grabs Beñat by his dripping clothes, by the t-shirt and trousers, raising him above the waters and making him float in the air, derived from a kind of ambiguous fight between the stelae of the dripping bodies. The duo adjusts and melts and seems to emerge from the waters.”

Alfonso Becerra, Pereza. Revista Gallega de Teatro, 11-12-2014.

The strange emptiness of a non-place

“Karaoke (vacío de orquesta) is a work which expresses itself with an enormous intensity and a variety of sensations in its compositions, not lacking in sensuality in many phases.”

Francisco Mesa, Karaoke. Diario Bahía de Cádiz, 15-06-2015

White pearls on the ground

“The level of both dancers was impressive, both in terms of physical preparation and due to what speaks of inner density. Meanwhile, certain symbolic events have been interspersed –the fall of the vase, its spilt water, the pearls of a necklace scattered across the floor, etc.– and the protagonists have looked outside between the shutter slats. However, it was dark there, but we have all understood that their last ray of light should reach them from that place.”

Agus Perez, Fácil. Berria Newspaper, 27-02-2014


“Beautiful, subtle, slow, challenging existing fury and hysterical movement, as if vindicating subconscious time over social time, prioritising exuded emotion over sudden shocks. Hypnotic. Images that are retained and which arise in emotions.”

Carlos Gil, Fácil. Gara Newspaper, 11-03-2012