AMERICAN BALLET THEATRE

ABT is in first-rate form this season and has some superb male dancing from Carlos Lopez...

The sold-out house for Stars of the 21st Century got a thrilling show.

Little did the audience know the high drama that had taken place to pull together this seventh annual ballet gala presented by the Koffler Centre of the Arts. First, Berlin State Opera Ballet could not come because of an injury; they were replaced by Chicago-based Joffrey Ballet. Then, one dancer from Spain's Compania Nacional de Danza had the wrong passport and couldn't get into Canada - so a couple from New York's American Ballet Theatre stepped in the day before the gala.

Unfortunately, ABT's Sarah Lane was recently married and had sent her passport in to register the change. She couldn't get into Canada without it, so partner Carlos Lopez rose to the occasion: He could whip two solos into shape with a bit of rehearsal in Toronto, but gala producer Solomon Tencer and artistic director Nadia Veselova-Tencer would have to buy him a black top and pants so that he could perform.

As serendipity would have it, these cast changes produced the most compelling contemporary piece of the evening (Gerald Arpino's Light Rain pas de deux) and the most impressive all-round male performer (Lopez). The Spanish-born dancer is tight, compact, fast, clean and dramatic. Whether undertaking the incredible muscle isolations of Braham Logan Crane's jazz dance to Andrea Boccelli's version of the Italian song Conte Partiro, or Victor Ullate's Jaleos, with its passionate outpouring of jumps, leaps and twists to music by Luis Delgado, Lopez was breathtaking.

In short, it was another wonderful Stars of the 21st Century.

Paula Citron for "The Globe and the Mail" May 6, 2008

"There were four major reasons to applaud American Ballet Theatre's full-length Thursday performance of "Le Corsaire"

.....The four reasons -- at least based on the initial cast for the five performances of the ballet running through Sunday at the Civic Opera House -- came in the form of Julio Bocca, Carlos Lopez, Angel Corella and Herman Cornejo ; ...At the moment, ABT seems to be flush with magnificent male dancers, and "Le Corsaire" shows them off to exception . "Lopez brought villainous comic flair and fleet dancing to the role of Birbanto, the friend-turned villain" By Hedy Weiss for the "Chicago Sun-Times" April 1, 2006

"Carlos Lopez was so taut and exciting as Conrad's friend Birbanto (obviously the true pirate, judging from his black attire) that I was pulling for him despite his traitorous deeds."

"Spanish soloist Carlos Lopez played the bad guy with forceful energy and a skillful manipulation of dangerous weapons."

"Carlos Lopez, in a debut, was a fiery Birbanto, his every move expressing his impatience and eagerness for action. He and Jennifer Alexander led the Pirates Dance and the Forband exuberantly."

"The air show continued with Lopez playing a fiery Birbanto, the first pirate the audience met, soaring onto the stage with graceful leaps and distinctive flair. His intense, scheming character was exposed mostly in Act II, when Lopez also showed off his own acrobatics and technical skills with lofty grand jetes and quick pirouettes as he energetically led the lively pirate dance (with lead Pirate Woman, Jennifer Alexander) and roused the other pirates to revolt against Conrad."

"But of all these lovely dancers, it was Sarah Lane and Carlos Lopez as two goats, who threatened to steal the show with their exacting performance of finicky, Ashtonian animal steps, many of them in profile."

"The two little goats may suggest the dread cats in ''Sleeping Beauty,'' but Ashton has made pure dance of their scuffing hooves and prances, and Carlos Lopez and Sarah Lane made the most of every charming move and gesture"

"Carlos Lopez is Eros, the god of love who has several faces. Sometimes he comes down off his pedestal in the guise of a mysterious stranger, a sorcerer. As a mortal, his sandaled calves kick out in a folksy solo as he congratulates himself for uniting Sylvia with her lowly but true love"

" On Saturday, Gypsy Guy , Carlos Lopez was "on," (he'll be another Espada , no doubt)"

"The evening's major revelation was Carlos Lopez, still a member of the company's corps de ballet, a divine dancer who brought a fine presence and gestural warmth to Alain, the dim-witted rich boy who would rather ride his umbrella around the room than anything else. Is there any other company in the world today that boasts such an abundance of male talent?"

"There something to askew when Puck, with Carlos Lopez in a virtuosic debut, receives more applause than the principals"

"Herman Cornejo and Carlos Lopez showed off technical fireworks while portraying the roles of Romeo's friends convincingly"

"In delightful contrast, Carlos Lopez performed the solo "Gigue" ("jig") with a verve and relish that sent sparks flying around the perimeter. The dance may have originated in the 17th century, stemming from French peasant festivals, but it also closely relates to succeeding centuries and variations conceived by other ethnic groups .And how decorative and robust a dance it has turned out to be for our times, as enlarged upon by the choreographer and the performer."

"The evening concludes with "Within You Without You: A Tribute to George Harrison."

"If you have ever wondered what you get when classical ballet meets rock music, this high octane number is it. First up is something, a powerful solo by Carlos Lopez. He turns, kicks, rolls on the floor, and does big leaping kicks with big arm movements."

"In Offenbach in the Underworld, The young officer was danced by Carlos Lopez with just the right balance of comic acting and pyrotechnics"

"Dorian by Robert Hill…. As the picture , Carlos Lopez managed well enough, given that Hill’s Choreography only conveys Dorian’s increased depravity by his decreasing taste in clothing…..Pastor and Lopez acquitted themselves admirably "

"In Concerto No.1 for Piano and Orchestra by Robert Hill, Carlos Lopez provided a percussive and passionate interpretation with blazing speed and sensational leaps" Dr. Roberta E. Zlokower, 2002

"In The Green Table, Carlos Lopez as the Profiteer, gave a subtlety intense performance "

"Carlos Lopez's racing, careering burst of rage, pushed along by the building music sung so powerfully by Troy Cook, maintained Tudor's delicate balance of despair and stolidity"

" Dark Elegies, is danced with precisely the right understated passion by both of its eloquent casts, ...among whom Carlos Lopez was outstanding"

"Carlos Lopez gave a fascinating, intense reading to the squiggly, complex central male role in Workwithinwork"

I"n Workwithinwork by William Forsythe….Carlos Lopez, amazingly swift begins the first of his several turbulent trajectories across the stage, flinging his elbows and arms out.

….among other encounters Mr. Lopez bursts into a circle of bravura barrel turns …

"Speaking of awkward positions,”workwithinwork” by William Forsythe is an ensemble piece that draws as much from casual movements as from ballet. Carlos Lopez brought down the house with his long passages of whiplash arm movements at a speed that makes you dizzy. Looking like a cartoon character swatting at flies, he absorbed this choreography fully"

"Carlos Lopez, who performed a extended solo, beginning at the left of the edge of the stage, crossing the back and concluding on the right, was a picture of focus and abandon. His particular task- to mirror the odd twittering of the violin music with brisk b-boy fluidity- was executed with breathtaking focus. It was as if the movement was initiated in his wild and frantic arms and his body had no choice but to follow"

"The images are breathless and breathtaking, beginning with Carlos Lopez as a loner who flings his elbows and his arms out in repeated whirlwind solos."

"…and including the bandbox-fresh solo of sideman Carlos Lopez ,whose multiple pirouettes with an upwardly tipped face inspired many in the audience to emit little gasp of pleasure"

"Carlos Lopez was the hell-bent-for-leather Toy Soldier Doll. Lopez was impressive in his ability to unleash leaps and turns with what seemed the tiniest of preparations"

Reviews with Victor Ullate's Ballet Company

"..also elegant is Carlos Lopez’s execution, somewhat more dramatic, but without breaking the harmony in Ullate’s choreography"

“El Mundo” Madrid , Spain 29 August 1995

"Tamara Rojo and Carlos Lopez are the fantastic interprets of a hard theme requiring a perfect technique and special fine tuning faculties to hide all phisical impulse and, in this way, reach a metaphysical contact"

Julia Martin “El Mundo” Madrid , Spain 28 August 1995

"The audience emotional state reached it maximum with the premier of Volar hacia la Luz, posthumous homage to Victor's mother. Tamara Rojo, -with a most than outstanding talent-, and Carlos Lopez were able to give the audience moments full of sensations on a stage of great scenographic impact supported by Ravel's Rapsidy"

“volar hacia la luz” It is a dense and intense choreography, difficult to interpret, which Tamara Rojo and Carlos Lopez tackle with total commitment, in a very eleveted interpretation considering their age and experience. The couple is able to show the choreographer's idea: A lirical fight against death, using the arms the dance provide.The outcome of Volar is a transparency, genuine picture who lifted the audience from thir seats"

"Tamara Rojo and Carlos Lopez furnish their internal fire to this piece of impressionant decor..."

"..also elegant is Carlos Lopez’s execution, somewhat more dramatic, but without breaking the harmony in Ullate’s choreography"

"In “Volar hacia la luz”…excellent interpreted by Carlos Lopez, the best male dancer in the company"

"Once again in “Jaleos” Carlos Lopez (also seen this season in Nomos Alpha) excelled with his variation with powerful jumps, the same that earned him praise by the French critics two weeks ago and the silver medal in the Paris Dance Competition"

"Extraordinary class of Carlos Lopez (recent winner of the silver medal in the Paris Dance Competition)"

"In Adagio Hammerclavier Marta Rodriguez with Carlos Lopez projected the internal tension with their difficult and slow tempo"

"The icing on the cake was provided in" Theme and Variations” by Balanchine, with a very inspired Carlos Lopez"

“El amor brujo” …the very accomplished Carlos Lopez, taking the part of the sorceress (due to an accident which forced a ballerina out)…confer such technical accomplishment, such synchronicity of motion, such tragic malleability, such communicative patina and structural awareness that create marvels in each interpretation, each step and each motion"

"Nomos Alpha, choreography created by Bejart for Paolo Bertoluzzi, was recreated for Carlos Lopez, profound as the protagonist of a play of which he has all the answers, an intelligent marionette moving all the threads"

“Exodos” saw the exciting protagonist Carlos Lopez, a wonderful dancer, who has demonstrated what living for the sake of dance means, creating miracles. This is why this chronicle, along with the joy to see him dance again, is dedicated to him"

"The Victor Ullate’s Ballet Company appear at the City Center for the second time bringing a briliant and very spanish Don Quixotte" "The company is one of the best ,and the unquestionable heroes were Ruth Miro and Carlos Lopez as Quiteria and Basilio. Both from the Ullate School of Madrid who has produced very good dancers. They both have great strengh and virtuosity. On his part Lopez boast virtuosity and energy" Celida P.Villalon . New york, Magazine “Por la Danza” Spain 1998

"Carlos Lopez (Basil) who demonstrated great command in turns Teatro Real. Carmen del Val . “El Pais” Madrid Spain 1998

"Rut Miro and Carlos Lopez, in the roles of the two lovers, maintained a rich and assured stage relationship , with the right degree of complicity that their roles demanded"

"Carlos Lopez who, through his variations, caused an exhilarated audience to exult"

"Carlos Lopez (Basil) is a formidable find and his variation in the tavern is the most remarkable"

"Carlos Lopez, more desinvolve and comfortable, was a Basil with a good line and fantastic self-control of jumps and turns the the Ullate school has as his mark"

"Specially Carlos Lopez as Basil full of simpaty and natural grace, not common in the normal "Spanishim". Both dancers were up to the extrenous demands of the roll"

Maria Luisa Martin-Horga “El diario Montañes” Santander ,Spain 1998

"Carlos López is small and athletic, with a noble, gracious manner and breathtaking turns"

"Carlos Lopez received and spontanous and merited applause. In his variation he showed a great technic and security with an innate elegance. His double tours en l'air charmed the audience. . ."

"Carlos Lopez, Albretch, shows an excellent dance where it did not lack elegant jumps, turns and long battements, charming the audience"

"...and, above all the amazing Albretch of Carlos Lopez, dancer with a superhuman jump, enough technique and a very define personal elegance"

"Carlos Lopez was a vigorous and brave Albretch, technically is a delight to see his clean jumps and turns"

"ABT’s Carlos Lopez impressed as the amorous gamekeeper Hilarion, Albrecht’s rough-hewn rival in love. He was quite convincing as a rustic bruiser one could well imagine wrassling a boar – not your usual pansy Hilarion. Besides leaping with flair, his performance was distinguished by some fine acting, particularly in Act II where he conveyed marvelously the bereaved gamekeeper’s confusion and desperation while dancing himself to death under the implacable Wilis’ spell."

"Carlos Lopez, who points to a very brilliant future of the international dance scene"

Victor M. Burell , “El punto de las Artes” Festival Internacional de Santander - Spain, 1994

"The most fervent applause were for the young Spaniard Carlos Lopez (Madrid 1976) from Ullate's School who partnered, with extreme attention, the principal Cuban dancer Rosario Suarez. They also performed the second act of Swan Lake and Tchaidovski pas de deux where Lopez provoked the audience explosion with his jumps..."

"Young Carlos Lopez, one of the youngest talents to come up from the ranks and the training of Victor Ullate"

"Diana and Acteon, an original choreography by Vaganova,...Carlos Lopez demonstrated aplomb and virtuosity.."

"But the couple who got the greatest ovation was Carlos Lopez and Tamara Rojo. They interpreted the Pas de deux D. Quixote and Coppelia. The answer to the complicated and dizzing turns and figures of the dancers produced more than one euphoric outcry. Their actuation showed, not only, a perfect technique but was able to make the public feel the emotions of the rolls"

"And finally emotion was reaching high altitudes when Tamara Rojo and Carlos Lopez entered the stage to interpret Diana and Acteon by genius choreographer Vaganova. These young dancers were able to provide emotion to Drigo’s music and perfection to the difficult steps of the genial Russian choreographer which demanded from Carlos Lopez some grands jetes which were marvelously executed"

"Diana and Acteon" was interpreted by two excellent dancers, Tamara Rojo and Carlos Lopez, both from the Victor Ullate Company. This Vaganova piece was designed for a masculine roll of great faculties and Lopez flew over the stage of The Maestranza with vertigious diagonals in front of his partner's pirouettes. Both received the greatess ovations"

"In the Black Swan pas de deux, Carlos Lopez was a sensitive partner and excelled in his variations"

."..and the effervescent actuation of Carlos Lopez on "Thaidovski pas de deux", where he showed power and class"

"The sixteenth International Ballet Festival of la Havana welcomed some of our Spanish dancers.

Carlos Lopez is also an outstanding dancer from Madrid and one to keep an eye on; his Acteon delighted the audience with his freshness, spirit and good work, tackling with technical quality and tremendous competence even the most difficult choreographies (including versatility in his jumps) and finally ending in a suave adagio rendition. On top of this, he is handsome and attractive…and in his “Jaleo” solo (by Victor Ullate) he displays his typical attributes and technical virtuosity which in just a couple of minutes leave you breathless and willing to enjoy more of his dancing"

"In “Tchaikovsky pas de Deux” Carlos Lopez was a delicate partner and he showed a brilliant dancing"

"...But it was Maria Gimenez and Carlos Lopez the ones to make the audience vibrate with their second appearance. With Diana and Acteon both gave a virtuous display and immediately connect with the audience"

"The finnest dancing of Carlos Lopez ,worked perfectly with the inteligent choreography of Victor Orive" Victor M.Burell “El punto de las artes”, Madrid Spain 1999

“Arrayan Daraxa” by Victor Ullate showcased the qualities of Rut Miro and Carlos Lopez, comfortable in this type of work and always evidencing their own musicality"

"The male revelation of the Ballet Festival of Cuba, Carlos lopez , with Angel corella and Joaquin de Luz are the trilogy of best dancers in Spain. Nowadays hes principal dancer at Ballet de la Comunidad de Madrid"

"The International Paris Dance Competition is without a doubt the only one in the world to be followed closely by the wife of a Head of State, Madame Chirac, president of the competition. The thirty four classical finalists were honored with such patronage last Wednesday. The competition was of outstanding quality"

"Among the seniors, ovations saluted young Spaniard Carlos Lopez, performing choreography by Victor Ullate which superbly showcased his energy and strong personality"

"Carlos Lopez was extraordinary. Simple, smiling, efficient, after a very honorable Giselle, he danced with fire and lyrism Jaleos, one of thos fantastic choreographies by Victor Ullate. No doubt, a trip to Madrid is necessary in order to be immersed by the likeable Carlos Lopez"

"Brillant panachage au gala de cloture. .....acclame, tout comme le viril Jaleos de l’espagnol Carlos Lopez, 2eme prix classique"

Reviews with Victor Ullate's Ballet Company

"..also elegant is Carlos Lopez’s execution, somewhat more dramatic, but without breaking the harmony in Ullate’s choreography"

“El Mundo” Madrid , Spain 29 August 1995

"Tamara Rojo and Carlos Lopez are the fantastic interprets of a hard theme requiring a perfect technique and special fine tuning faculties to hide all phisical impulse and, in this way, reach a metaphysical contact"

Julia Martin “El Mundo” Madrid , Spain 28 August 1995

"Carlos Lopez (Basil) who demonstrated great command in turns Teatro Real. Carmen del Val . “El Pais” Madrid Spain 1998

"Specially Carlos Lopez as Basil full of simpaty and natural grace, not common in the normal "Spanishim". Both dancers were up to the extrenous demands of the roll"

Maria Luisa Martin-Horga “El diario Montañes” Santander ,Spain 1998

Rene Sirvin “Le Figaro” Paris, France 1996