–’’ The characters played by Lucía Burguete and Diego Pazó seem to exist in a perpetual, ever-stretching present: it’s as if history, as we know it, hasn’t been reactivated, because the very idea of human being has been suspended. [...] For now, I must point out that GARGOLA is the best I’ve seen so far from QABALUM in terms of direction, performance, movement quality, and staging...’’Danzateatr, 2026

’’Diego Pazó displays a formidable strength in the dancer’s constant lifts; always with a fluid phrasing, without any noticeable effort, and inventing genuinely innovative steps. The connection between them transcends mere overlapping. Lucía embraces her partner with absolute trust. Every movement is planned and executed with millimetric precision. [...] The virtuosity that undoubtedly underlies some steps, is at the service of beauty, of the movement itself; it doesn’t seek to show off. It is fertile in truly beautiful poses and finishes. The drone, almost always overhead, sometimes dictates the movement; but it is also a subject to be explored. If symmetry is the goal, it is achieved impeccably: for example, the final section executed on the floor is of great precision and originality. The intertwining of the two bodies is innovative; there are few repetitions, and they are necessary to appreciate the varied registers. [...] In short, an exceptional contemporary dance duo that manages to weave a story with fluidity and without mutual intrusion between the physical energy and the technical and visual elements.’’ Teobaldos, Noticias de Navarra, 2025

’’Diego Pazó and Lucía Burguete burst onto the stage with a choreography in which their bodies, like particles, collide, approach, grasp, and release in a fascinating dance monitored by a drone. At times, the delicacy of their gestures is reminiscent of a motion capture test, of a pair of figures closer to digital imagery than to the heartbeat of a flesh-and-blood body that throbs and crawls along the cobblestones of the stage. [...] Qabalum invites us to dance with some of the tropes of science fiction, to appropriate these imaginaries of the future, under the gaze of a drone that misses no detail, a symptom of a hyper-monitored society in which no gesture goes unnoticed. And that, precisely, is something that is evident in the time this duo takes to present their intentions, in the natural way with which they take over the space, and in how they are able to construct figures, images, words in motion.’’ Óscar Brox, Redescénica, 2025

’’Pay close attention to TODO ESTE RUIDO by Qabalum. Because of the technical brilliance with which they move and how they can connect with the interests of the younger public. They set the bar very high.’’ Jordi Sorá, Escenas de la Memoria, 2024

’’It is worth highlighting the quality of movement achieved by the company, which, based on contemporary dance techniques, finds its own register that manages to transmit the sensation of lightness and fragmentation [...] that planetary and galactic perspective of humanity, that, coming from the dust of the stars, we will probably end up turning back into dust, whether from stars or ashes depends on the pessimism of each one.’’ Júlia Vernet, Núvol, 2024

’’In Tàrrega there are people who dance fireworks [...] Diego Pazó and Lucía Burguete move in a dance of the future, which discovers mechanical movements and innovative aesthetics that hypnotize them, and that hypnotize the spectators.’’Magí Camps, La Vanguardia, 2024

’’TODO ESTE RUIDO is a good choreographic piece, with an abstract plot line that allows each spectator to build a plot and that shows how the devices have a soul within a show.’’ Jordi Bordes, Recomana.cat, 2024

“The tension that the two performers generate with their bodies resides in the flexible interlacing, in the traction of arms and legs, in the jumps and positions on the ground and on the back, in the alignments of the jumps, in the dynamic grips performed in the air, in the mouth caught by the hands. Measuring each other in the passage of time, they stop and distinguish themselves, to be together again.” Giuseppe Distefano, Exibart, 2024

“This young company has managed to burst onto the scene with force [...] and, without a doubt, LA MEDIDA QUE NOS HA DE DIVIDIR has a quality as great as the performance and composition skills of those who integrate Qabalum. I will never get tired of repeating the idea that professionals like Diego Pazó and Lucía Burguete are the ones we should place our hopes on to bring about a generational change in contemporary dance in this country.’’ Luis Alberto Sosa, Achtung Magazine, 2022

’’This couple from Navarre has a very interesting body of work and we will have to keep a close eye on them. They have wonderful control over lifts and partner acrobatics and blend beautifully when they dance in unison.’’ Santiago de la Fuente, Redescénica, 2021