Juan Carlos Garvayo writes: "I conceived 33 Dreams as sort of a strange trip to a supposedly shifting center that can be found both inside and outside consciousness. The dreams here are coded messages that help draw the map, and their poetic translation is the exerted result of their decoding in a precise language of symbols. In the road we find seas, magical places, real and imaginary persons, whirlpools, spirals, monsters, gods, abysses, and a myriad array of both typical and archetypal images found in the quest for my emotional, intellectual and poetic need. Roberto Sierra uses this trip structure, "journey" as he prefers to say (in fact, one third of the piece was composed during a cruise crossing in his Caribbean sea), in order to connect his 33 Dreams with the tradition of the great song cycles of German romanticism. In par with another journey song cycle, Winterreise, the music of 33 Dreams penetrates not only inside the poetic text, but also into it's interstices, to achieve a superior level of comprehension in which the daydream acquires reality and reality blurs into daydream; Roberto manages in a prodigious way the capability of the symbolic adaptation of music to enhance the dream, to profile it and to vivify it, in such a way that it acquires another dimension fuller in content, meaning and beauty. The music also contributes to the text form and structure through an intricate net of musical parameters created by the composer: melody, rhythm, harmony, color and texture, which inject light and thickness to Ariadne's thread within the poetic sub consciousness, inviting us to follow him as if a luring bait and thus making us enter into an initiatory trip of uprooting, stripping, pain, longing, illumination and return to origin."