“The Dark Time” Love and the failure of love , face to face.

" And with them , the great dancer Carlos Lopez as a subtle manifestation of the desire, fleeting and elusive ” 

Jose Miguel Vila “” Madrid, June 11, 2016 LINK

“The 24th Festival: Epilogue...”

“...while Xiomara Reyes and Carlos López (American Ballet Theater) offered an eloquent interpretation of the Great Galloping Gottschalk, accompanied by strong applause.” Tony Piñera, CUBANOW, November 7, 2014

"Lydia Johnson Dance”

"In addition, former American Ballet Theater dancer Carlos Lopez performs as a guest artist in this work, marking his second appearance with Lydia Johnson Dance; his strength certainly stands out.” Jenny Thompson, EYE ON THE ARTS, NY – New York, June 7, 2014 LINK

"Lydia Johnson Dance Spring 2014 NY season”

The central pas de deux couple, Kerry Shea and guest artist Carlos Lopez (above), have formed a memorable partnership based on trust, musicality, and a mutual sense of the poetic. Midway thru their poignant adagio, Kerry vanishes upstage and Carlos has an expressive solo with some fluent attitude turns. Kerry then remarkably re-enters from the opposite downstage corner to finish the duet with her handsome cavalier. ”Oberon's Grove” New York, June 5 , 2014 LINK

"Lydia Johnson Dance: Studio showing”

The initial vision of the dancers pacing thru a dreamscape - some carrying their slumbering colleagues - crystallizes as Carlos Lopez enters with Kerry Shea clinging gently to his back: Carlos is a dancer who can transform the mere act of walking into an artistic expression. Later he and Kerry dance to the immortal 'An die Musik' with a lovely expression of mutual admiration and consolation. In Carlos's solo, attiitude turns become emblematic of Schubert's melody, beautifully rendered by the handsome danseur. ”Oberon's Grove New York, November 3, 2013 LINK

"BWW Reviews: Lydia Johnson Featuring Carlos Lopez"

It was a pleasure to experience the fusion of Lydia Johnson's invigorating choreography with the precision and passion of Carlos Lopez. The entire performance evoked a variety of emotions ranging from devout love to high anticipation to true sorrow. Not only was the chemistry between Carlos Lopez and Lydia Johnson undeniable, the chemistry between Lopez and the whole cast could only be described at breathtaking. While I'm sure that the Lopez's dedication and artistry were certainly inspiring to the entire cast and crew, I cannot help but assume that the other dancers returned just as much insight and perspective… 

I simply cannot note enough positive comments about the final piece. As if brilliant and emotive dance wasn't enough, delicate costumes and romantic German ballads brought me near to tears. Night and Dreams featured some comelling , and independent work, by Blake Hennessy-York and Carlos Lopez (to name a few), but the large group portions meshed so perfectly with the music pthat it really had a great effect on everyone in the theatre.Tess Alfano,, New York, June 11, 2013LINK

"Dancing in the Night: Lydia Johnson Dance at the Ailey Citigroup Theater…."

"The amazing Carlos Lopez, former soloist with the American Ballet Theater was a guest artist and appeared in three of the piece. His strong classical training and intrinsic lyricism of movement was a perfect match for Ms. Johnson’s choreography" 

"Carlos Lopez performed a memorable solo, with his superb command of technique and his ability to transfer his emotion in into his dancing; this all blended and married well with Ms. Johnson choreographic style" Darrel Wood, "NYC Dance Stuff", New York, June 16, 2013 LINK

"Lydia Johnson Dance: Music is the key"

"Lydia Johnson Dance opened at Ailey Citigroup Theater tonight with a musically diverse program..."

"As a guest artist, the wonderful Spanish danseur Carlos Lopez appeared in three of the evening's works; his musicality and deeply emotional response to the composers works gave a perfect lustre to his dancing. I can't help but think that he inspired all of the dancers with his artistry and commitment."

"In Night and Dreams, Kerry Shea and Carlos Lopez danced in perfect harmony, their duet a lyrical visualization of the music. In his solo, to "An die Musik", Carlos displayed his impeccable attitude turns and compelling beauty of line." "Oberon's Grove". New York, June 6, 2013 LINK

"A Luxury Gala at the International Ballet festival of Havana" 

"Spaniard Carlos López, former soloist with the ABT and current first dancer invited by the Ballet Concierto of Puerto Rico, showed off the inflections of his land in a fragment from Jaleos, choreographed by Víctor Ullate, maestro of a prominent generation of Spanish dancers including Lucía Lacarra, Igor Yebra, María Giménez, Tamara Rojo, Angel Corella and Carlos himself. López was a dancer of great fluency and the combination of both classical and contemporary technique appeared to be a regular practice for him”  Marta Sanchez, “” Nov 12, 2012

"Variedad estilística en el XXVII Festival de Coreógrafos"

"Entre los estrenos Con te partirò, de Braham Logan Crane, y música de Francesco Sartori, logró momentos sublimes en los movimientos fluidos del bailarín invitado Carlos López. El artista español encantó al público con la cualidad de su baile y su proyección emotiva, totalmente identificada con la lírica. ¡Enhorabuena por López! Miriam Montes Mock. San juan, Puerto Rico, Oct 2012 LINK

"23rd International Ballet Festival of Havana, Cuba"

"El Ballet Concierto de Puerto Rico se unió a la celebración presentando un pas de deux nombrado Tango Tonto, ejecutado con precisión, soltura y comicidad por Bettina Ojeda y Carlos López, con pasos acrobáticos y sensuales intentando acercar el estilo neo-clásico al tango." Jose Ernesto Gonzalez Mosquera, "ONCuba", November 3 2012

"23rd International Ballet Festival of Havana, Cuba"

"El español Carlos López, exsolista del ABT, actual primer bailarín invitado del Ballet Concierto de Puerto Rico, lució los acentos de su tierra en un fragmento de Jaleos, coreografía de Víctor Ullate. Al parecer la combinación de la técnica clásica y la contemporánea suele ser práctica habitual para López, un bailarín de gran soltura." lac/msm, "Prensa Latina", La Havana, November 6 2012

"XXIIIème Festival Internacional de Ballet de la Habana"

Le siguio Tango Tonto, música de Stravinsky interpretado por Bettina Ojeda y Carlos Lopez (Ballet Concierto de Puerto Rico) aunque ella es cubana desde hace unos años no baila con el BNC. Un ballet corto pero defendido con pasion, sensualidad y ternura que arranco un fuerte aplauso a los presentes. Erick Klein, "Ballet y mas", Oct 30th 2012

"23rd International Ballet Festival of Havana, Cuba"

Una nota de frescura y humor pusieron Bettina Ojeda y Carlos López, del Ballet Concierto de Puerto Rico, con Tango tonto, de Jimmy Gamonet, una loa al espíritu latino, enérgico y espontáneo, que especialmente distingue a los caribeños. Octavio Borges Perez, "", Nov 1, 2012

"23rd International Ballet Festival of Havana, Cuba"

También jugó con la plástica el ingenioso vestuario de Tango tonto, de Jimmy Gamonet, en la interpretación de Bettina Ojeda y Carlos López, bailarines del Ballet Concierto de Puerto Rico… Merecen destaque los estrenos en Cuba de Con te partiro, de Braham Logan, por la habilidad del bailarín Carlos López, del Ballet de Puerto Rico" PL, "", La havana, November 1, 2012

“Avi scher & dancers” at Alvin Ailey Citigroup Theater

“The final premiere, "Dwindle," … and a duet for Carlos Lopez and Sean Stewart had real rhythmic intricacy and drive, the only moment in the program I wanted to see more of.” Brian Seibert for “The New York Times” April 9, 2012

"Avi Scher & Dancers at the Alvin Ailey Citigroup Theater"

 "Carlos Lopez an Sean Stewart performed a duet that was thrilling to watch, perfectly partnering each other and blending their strengths in to one voice. Weaving in and out of the music, which was an electronic score by several composers." Darrel Wood, "NYC Dance Stuff", New York, April 11, 2012

"Lar Lubovitch: Stars Abound"

There seems to have been more movement than usual among top dancers in many of the city’s dance companies. One of the lucky recipients of this instability, as seen in two programs at the Baryshnikov Arts Center from November 9-20, is the Lar Lubovitch Dance Company.

Mens’ Stories, Lubovitch’s signature work in recent years, is a readymade vehicle for individual stars to elaborate on the anecdotes and mythologies spun by its original cast. The happiest surprise was Carlos Lopez, somewhat buried in ABT’s ranks and repertory; at BAC we were near enough to read his plentiful charisma and verve. Susan Yung, "Sunday Arts Blog" New York, Nov 23, 2011

“Company B” - Anthony tudor

“It is an incredibly fine balance to make, and Taylor judges it perfectly. The dancers clearly enjoy the whole experience, not least Carlos Lopez’s bespectacled “Oh Johnny, Oh Johnny”, relishing in being pursued by seven women, his character first cousin to the hilarious Husband in Jerome Robbins’ The Concert” G.J. Dowler for “the Classical Source” London, March 2011

"Fancy free" - Jerome Robbins

"Daniil Simkin, Carlos Lopez and Radetsky made every gesture count and every moment pop in this quintessential American street scene of a Ballet. Glorious” Hedy Weiss for “the Sun Times” Chicago, April 2010

"Seven Sonatas" - Alexei Ratmansky

 "As the central, mature couple, Yuriko Kajiya and Carlos Lopez held the stage with clear focus if not unerring power" Robert Greskovic  for "The Wall Street Journal" October 13, 2009

"... They gave it a greater sense of homogeneity and unity. Jared Matthews, Carlos Lopez and Yuriko Kajiya were all stronger than I’ve ever seen them" Robert Gottlieb  for "The New York Observer" October 13, 2009

"Le Corsaire" - "Swan Lake"ABT

"Carlos Lopez makes a strong impression as Conrad’s treacherous friend, firing pistols and bounding through split jetes. He’s matched by Marian Butler as an authorative pirate woman. Their character dances, with a corps in heeled shoes, have a stomping energy” Zoe Anderson for “The independent” London, April 2009

"Carlos Lopez and Marian Butler are both effortlessly dynamic as Birbanto and the lead pirate woman and Lopez offers some buoyant, rapid footwork and well-oiled pirouettes" Mike Dixon for "Dance Europe" Loondon, May 2009

"The Neapolitan duo, Carlos Lopez and Mikhail Ilyin, lit the fuse in an exuberant display of one-upmanship, delighting in out spinning each other" Maggie Foyer for "Dance Europe" London, May 2009

“Company B” - Anthony tudor

ABT is in first-rate form this season and has some superb male dancing from Carlos Lopez… Clive Barnes for "The New York Post" October 27 2008

"Stars of the 21st Century" Toronto 

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" Toronto, May 6 2008

"Le Corsaire" - Anne Marie Holmes

"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" Hedy Weiss for the "Chicago Sun-Times" April 2006

"There was also smooth, agile work from Carlos Lopez" Sid Smith for the "Chicago Tribune" April 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." Elaine Guregian for the "Beacon Journal" Cleveland, March 19 2006

"Spanish soloist Carlos Lopez played the bad guy with forceful energy and a skillful manipulation of dangerous weapons" Wilma Salisbury for the "Plain Dealer" Cleveland, March 18 2006

"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."  Susan Reiter for the "Dance View Times" June 25 2005

"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." Lori Ibay for "Critical" June 24, 2005

"Sylvia" - Frederick Ashton

"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." Mindy Aloff for The “Dance View Times”, June 6 2005

"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" Jennifer Dunning for the “New York Times”, 2005

"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" Lori Ortiz for City News "Volume four, Issue 23" 2005

"Don Quixote" - Kevin McKenzie

"On Saturday, Gypsy Guy, Carlos Lopez was "on," (he'll be another Espada, no doubt)" Jeff Kuo for "Critical” 2003

"la pareja de gitanos fue desempeñada por el dinámico Carlos López, certero como los mejores, junto a Luciana Paris, sensual y emotiva” Celida P. Villalon, New york, 25 May 2006

“Manon" - Kenneth Macmillan

"Mr. Lopez had one sensational solo and led the beggars through some astounding athletics” Dr. Roberta E. Zlokower, June 2006

"Raymonda" - Kevin McKenzie

"Performing at Playhouse Square Center, American Ballet Theatre proved why it is a world class company. The program opened with “Raymonda,” a classical piece with folkloric overtones.   Maxim and Carlos Lopez’s high scissors leaps were one the piece’s highlights" Roy Berko for "The Times Newspapers" 2004 

"La Fille mal gardee" - Frederick Ashton

"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?" Alan Ulrich for the "Voice of Dance" 2002 

"Carlos Lopez was superb as Lise’s simpleminded suitor Alain" Clive Barnes for the “New York Post” 2002

"Carlos Lopez was a fine, childlike Alain" Anna Kisselgoff for the “New York Times” 2002 

"The Dream" - Frederick Ashton

"Carlos Lopez was exceptional as Puck…he was the sharpest" Clive Barnes for the ‘New York Post’ 2002

Title : “A Puck Debut as a Dream Come True” "There something to askew when Puck, with Carlos Lopez in a virtuosic debut, receives more applause than the principals" Anna Kisselgoff for the “New York Times” 2002 

"La Bayadere" - Natalia Makarova

"The Bronze Idol receives the right bravura from Carlos Lopez" Anna Kisselgoff for the “New York Times” 2003

"Romeo and Juliet" - Kenneth Macmillan

"Carlos Lopez as Mercutio was an affable pal in a well-danced performance" Jennifer Dunning for the “New York Times“ 2003

"Herman Cornejo and Carlos Lopez showed off technical fireworks while portraying the roles of Romeo's friends convincingly" Art Priromprinty for "Daily Trojan" L.A. 2004

"Mozartiana" - George Balanchine

"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." Jennie Schulman for the "Dance Diary" 2004

Mix Repertory

"Carlos Lopez was especially strong in Amazed in Burning Dreams" Doris Hering for “Dance Magazine” 2001

"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." Paul Berenson for Web Classics plus, L.A. 2004

"In Offenbach in the Underworld, The young officer was danced by Carlos Lopez with just the right balance of comic acting and pyrotechnics" Jennifer Dunning for the “New York Times” 2003

"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 " Eric Taub for the DanceView Times 2003

"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 George Jackson  for The ‘Dance View Times’, 2006

"The sorbet between was Mark Morris' “Gong”...Dancers Misty Copeland and Marcelo Gomes, and Riccetto and Carlos Lopez fared best in the two danced-to-silence pas de deuxs” Laura Bleiberg, Orange County. May 4, 2006 

"... Carlos Lopez as the slimy War Profiteer, was superlative" Clive Barnes for ‘Ballet 2000’, 2005

"Ms. Tharp’s “Brahms-Haydn Variations,” originally titled “Variations on a Theme by Haydn,”...Tuesday’s cast also included Ms. Murphy, Sascha Radetsky (who has returned to the company after a year with the Dutch National Ballet), Veronika Part, Mr. Hallberg, Sarah Lane and Carlos Lopez. You could sense that all of them shared Ms. Tharp’s delight and freedom." Alastair Macaulay for the “New York Times”, washington DC. Jan 27, 2010

"Dark Elegies" - Antony Tudor 

"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" Jennifer Dunning for the “New York Times” 2005

"Dark Elegies, is danced with precisely the right understated passion by both of its eloquent casts, ...among whom Carlos Lopez was outstanding" Clive Barnes for “Ballet 2000 Dance Magazine”, 2005

"Donald Mahler, who revived Tudor’s Pillar of Fire two years ago, brings the same sensitivity to Dark Elegies that made the earlier production a success. He has a way of sensing hidden depths and eliciting emotionally nuanced performances. When Hee Seo rocks an absent child in her arms or Carlos Lopez stabs the air with jumps that protest a cruel, inexplicable fate, when a slow walk becomes a ritual and the circle an emblem for community, Mahler reveals the metaphors of Tudor’s movement and his profound musicality.” Lynn Garafola, November 6, 2005 

"Worwithinwork" - William Forsythe

“In the midst of what is very much an ensemble piece, one could not help being riveted by Carlos Lopez, who has an amazing aptitude for Forsythe's swift, knotty deconstructions of classical dance. He stood out even on a stage that included an embarrassment of male dancing riches—David Hallberg, Marcelo Gomes, Danny Tidwell, and Mr. Cornejo—as he revived himself up to warp speed, delivering seemingly impossible combinations with an air of improvisatory casualness. He gave the movement an organic quality, enabling us to see it as expressing an internal force, rather than arbitrarily imposed on the dancers. He also provided at least the hint of an emotional center; his urgent outpourings seemed like an appeal or message of warning to the others, who in the closing moments all stood and focused on intently his final, understated deliverance” Susan Reiter for the “Danceviewtimes” 2004

"Carlos Lopez gave a fascinating, intense reading to the squiggly, complex central male role in Workwithinwork" Amanda Smith for the "Dance Magazine" 2005

“In 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 … When Mr. Lopez faces a group at the end, the music dies. He is the loner" Anna Kisselgoff for the New York Times 2003

"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" Pia Catton for the “New York Sun” 2003

"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" Gia Kourlas for ‘The Dance View Times’, 2003

"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." Anna Kisselgoff for the “New York Times” 2004

"Symphonic Variations" - Frederick Ashton

"…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" Mindy Aloff for The “Dance View Times” 2003

"The Nutcracker" - Kevin McKenzie

"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" Jeff Kuo for "Critical" 2003

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 August 29 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, August 28 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" Mario Castellanos, Madrid 1995 

“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"   Roger Salas “ El Pais” Madrid 

"Tamara Rojo and Carlos Lopez furnish their internal fire to this piece of impressionant decor..."  Le temps d’aimer, Biarritz, France 1997 

"..also elegant is Carlos Lopez’s execution, somewhat more dramatic, but without breaking the harmony in Ullate’s choreography" Julia Martin “El Mundo” Madrid Spain 1995

"In “Volar hacia la luz”…excellent interpreted by Carlos Lopez, the best male dancer in the company" Julio Bravo “ABC” Madrid, Spain 1996

"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" Roger Salas “El Pais” Madrid, Spain 1996

"Extraordinary class of Carlos Lopez (recent winner of the silver medal in the Paris Dance Competition)" Julio Bravo “ABC” Madrid, Spain 1996

"In Adagio Hammerclavier Marta Rodriguez with Carlos Lopez projected the internal tension with their difficult and slow tempo" Julia Martin “El Mundo” Madrid, Spain 1998

"The icing on the cake was provided in" Theme and Variations” by Balanchine, with a very inspired Carlos Lopez"   Marjolijn Van Der Merr “La Vanguardia” Barcelona, Spain 1998

“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" Claudio Tempo. “Il Secolo XIX” Genova, Italy

"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" Victor M.Burell “El punto de las artes “ Madrid Spain 1997

“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" Victor M. Burell “El punto de las artes” Madrid, Spain 2001

"Don Quixote" - Victor ullate

"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

"Carlos Lopez was perfect as Basilio" Marjolijn Van Der Meer “La vanguardia” Barcelona Spain 1997

"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" Rosali Ayuso  “El Mundo” Barcelona, Spain 1997

"Carlos Lopez who, through his variations, caused an exhilarated audience to exult" Montse G. Otzet “El Periodico” Barcelona, Spain 1997

"Carlos Lopez (Basil) is a formidable find and his variation in the tavern is the most remarkable" Rene Sirvin  “Le Figaro” Montpellier, France 1998

"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" Julia Martin “El Mundo” 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

"Carlos Lopez has an extraordinary jump in a Basil full of intensity" Julio Bravo. “ABC” Madrid, Spain 1998 

"Carlos Lopez’s appearances were unforgettable" Joaquin Aranda “Heraldo de Aragon” Zaragoza, Spain 1998

"Carlos Lopez is a young Basilio" Silvia Karlg “Salzburger Narchrichten” Wiener, 1998

"Carlos López is small and athletic, with a noble, gracious manner and breathtaking turns" Gus Solomons Jr. “Dance magazine” New York,1996

"Carlos Lopez as Basilio is wonderful" Clive Barnes “New York Post” New York,1996

"Giselle" - jose pares

"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. . ." Mario Castellanos “Diario 16” Madrid, Spain 1996

"Carlos Lopez, Albretch, shows an excellent dance where it did not lack elegant jumps, turns and long battements, charming the audience" Elena Umbria  “ Diario Montañes” Santander, Spain 1996

"...above all, the amazing Albretch of Carlos Lopez, dancer with a superhuman jump, enough technique and a very define personal elegance" Victor M.Burell “El punto de las Artes” Madrid, Spain 1999

"Carlos Lopez was a vigorous and brave Albretch, technically is a delight to see his clean jumps and turns" Julio Bravo “ABC” Madrid, Spain 1999

International Galas and guestings

"Ballet Etudes of Miami, Giselle", "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." Tony Guzman for "The Sun Post" of Miami, july 21 2006

"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

"Tamara Rojo and Carlos Lopez show virtuosity in the Blue bird Pas de deux"  Roger Salas “El Pais” Gala Bailarines españoles de hoy, Spain, 1995

"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..."  Roger Salas “El Pais” Gala Balanchine Petipa, Santander, Spain 1994

"Young Carlos Lopez, one of the youngest talents to come up from the ranks and the training of Victor Ullate" Guillermo Balbona  “Diario montañes” Santander, Spain 1994

"The soloist couple formed by Tamara Rojo and Carlos Lopez had a great success"  XIV Festival de Danza de Sevilla, Spain 1994

"Diana and Acteon, an original choreography by Vaganova,...Carlos Lopez demonstrated aplomb and virtuosity.." Carmen del Val “El Pais”, XIV Festival de Danza de Sevilla, Spain 1994

"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" S.Marimon. “Diari de Sabadell” Spain

"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" Marta Carrasco. “Diario 16”,  XIV Festival de Danza de Sevilla, Spain 1994

"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" Juan Luis Pavon “El Correo de Andalucia” Spain

"In the Black Swan pas de deux, Carlos Lopez was a sensitive partner and excelled in his variations" Maria Luisa Martin-Horga, revista “Por la Danza” Madrid 1995

"...and the effervescent actuation of Carlos Lopez on "Tchaikovsky pas de deux", where he showed power and class" Julio Bravo “ABC” Gala de estrellas. Madrid, Spain 1999

"The quality of Carlos Lopez, splendid as usual" Julio Bravo “ABC” Gala de Madrid en danza. Madrid, Spain 1999

"Carlos Lopez demonstrating maturity" Roger Salas Gala de Madrid en danza. Madrid, Spain 1999

"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 “Jaleos” 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" Raul Cardenes revista “Por la danza” Madrid 1999

"IV International Ballet Festival of Miami at the Jackie Gleason Theatre" "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" Orlando Taquechel “El Nuevo Herald” Miami, Florida 1999

"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"  Julia Martin “El Mundo” Stars Ballet Gala, San Sebastian, Spain 2001

"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" Juan Lavanga, Argentinian Magazine 2000

"VII International Ballet Competition" - Paris

"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" Rene Sirvin “Le Figaro” Paris, France 1996

"The finals of the Intenational Ballet Competition of Paris" "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" Jean-Claude Dienis, Magazine “Danser” Paris, France 1996

"Brillant panachage au gala de cloture. ...acclame, tout comme le viril Jaleos de l’espagnol Carlos Lopez, 2eme prix classique" Jean-Claude Dienis, Magazine “Danser” Paris, France 1996