(...) Every small yet eloquent gesture of the hands, every swift and fluid dance figure — whether in the pas de deux or within the ensemble — radiates the emotional certainty of this love and this self-sacrifice. [...] ‘It is what it is,’ love says here, borrowing the words of Erich Fried. And what the dancers contribute in their respective native languages sounds no less resolute.”— Christine Adam, Neue Osnabrücker Zeitung

“(...) the creation stands out for its communicative power, clarity and rigor of imagery, and intense emotional impact. Stefano Mazzotta confirms himself as a mature authorial voice, and Zerogrammi as a production reality now in full development, ready to engage with large-scale compositions: a broad perspective that, in a time dominated by studies and short performances, is often missing from the work of many of his contemporaries.”— Maddalena Giovannelli, HYSTRIO

“(...) the choreographer plays with aesthetics and technique in a highly distinctive way, convincing and captivating precisely because his works are filled with mysticism, humanity, and freedom; the classical theme he has chosen is deeply meaningful, and within the performance the limited abstraction is counterbalanced by a strong sense of narration and reflection. A high-quality narrative carrying intense weight and meaning.”— Giselle Roiz Miranda, GBOpera Magazine

“It is through the expressiveness of dance that the drama of Alcesti becomes contemporary, turning into a question about love and about how much — both universally and individually — each person is willing to give of themselves within that relationship. This emerges above all in the final pas de deux, an encounter and confrontation between Alcesti and the one who represents life and love itself for her, without whom no survival would ever be possible. Zerogrammi received repeated and heartfelt applause at the Ridotto.”— Clelia Stefani, Il Giornale di Vicenza