"Between the glorification of the naked body and its repression, the dancer and choreographer has outlined the narrative of his new piece, La Wagner, which alludes to eroticism and pornography, the banal and the sublime, the irreverent and the sacred."
Cecilia Hopkins, DIARIO PÁGINA 12

"Once again, experimentation and transgression take center stage in the work of musician and choreographer Pablo Rotemberg. This time, his world collides with that of Richard Wagner in a piece that both captivates and confounds. The pace is intense, pushing the energy to almost extreme limits. The actions within the space multiply, at times, at a frenetic speed."
Carlos Pacheco, DIARIO LA NACIÓN

"The prolific output of choreographer, musician, and writer Pablo Rotemberg seems to fiercely challenge the taboos of contemporary society and its obsession with appearances, political correctness, and the mania for information without communication. He sinks his teeth in, shatters, and shamelessly displays—the sarcasm a response to the fact that solemnity no longer moves anyone—the dirty image of society."
Ale Cosin, EN MODO CRÍTICA

"Wagner, Richard. The monumental German composer falls from his pedestal, transformed by a feminine figure. The creator of great works and controversial theories, which others used to justify racism and fuel genocides, is now used by Pablo Rotemberg to speak about violence. Here and now. It’s difficult to understand that La Wagner has poetry, but no metaphors. There’s no mystery beyond that which is clearly visible, challenging us."
Claudia Acuña, REVISTA MU

"More warriors than delicate maidens, the Valkyries in La Wagner dismantle stereotypes of femininity, creating sequences whose driving forces are violence and eroticism, either intertwined or separated. In the tradition of contemporary dance, with imposing physicality, the four performers play out the sequences in solos, duets, trios, or quartets, assuming roles of men or women, aggressors or victims, dominant or passive, blurring the boundaries of gender standards. The choreographic form stylizes violence, but does not soften the discomfort it stirs in the viewer. It’s clear that La Wagner is not the work of art that the German composer envisioned for the future; it is a work of the present, where the past—sharp and relentless—continues to pierce through."
Marcelo Pitrola, REVISTA OTRA PARTE