DON QUIXOTE: COMPAÑÍA NACIONAL DE DANZA 29 & 30 March 2018 Emirates Palace Auditorium
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ABOUT ABU DHABI FESTIVAL Founded in 2004, the Abu Dhabi Festival was held under the Patronage of the then Minister of Information and Culture (and now Minister of Foreign Affairs and International Cooperation) HH Sheikh Abdullah bin Zayed Al Nahyan. This was followed from 2007 to 2011 with the Patronage of HH Sheikh Mohamed bin Zayed Al Nahyan, Crown Prince of Abu Dhabi and Deputy Supreme Commander of the UAE Armed Forces. Today, the Festival is held under the patronage of HE Sheikh Nahayan Mabarak Al Nahayan, UAE Minister of Tolerance. Each year, Abu Dhabi Festival brings audiences together to share unique experiences that testify to our shared humanity and the deep bonds we share. Always growing, always innovating, it brings the best of the world to Abu Dhabi and takes the very best of Abu Dhabi to the world. The 15th Abu Dhabi Festival presents the cultural excellence of 30 countries and the creativity of over 200 Emiratis alongside more than 500 artists from the four corners of the globe. In keeping with its reputation for ‘firsts’, Abu Dhabi Festival 2018 presents 2 Festival debuts, 4 UAE debuts, 6 Arab world debuts and 3 world premieres. From music to theatre, literature and visual arts, this year’s Festival continues to spread its arms across the UAE and the world. Beyond the national programme, audiences in Europe and beyond will experience new productions, concerts and exhibitions during the year, made possible by Abu Dhabi Festival. www.abudhabifestival.ae
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A beacon of cross cultural understanding, Abu Dhabi Festival 2018 unites, empowers and inspires humanity. This year’s Festival presents the creativity of over 200 Emiratis and 500 international artists from 30 countries. It begins in spaces and places across the seven Emirates and continues with an array of performances at Umm Al Emarat Park, Emirates Palace and The Arts Center at NYU Abu Dhabi as well as at Manarat al Saadiyat for the landmark exhibition 'From Barcelona to Abu Dhabi'. Works from the Barcelona Musuem of Contemporary Art (MACBA) in dialogue with the Emirates'. Featuring masterpieces by over 40 composers, the programme is a feast for music lovers. Nicola Benedetti and the Orchestra of the Age of Enlightenment embrace the Romantic era with works by Beethoven. Orchestra dell’Accadamia Nazionale di Santa Cecilia – Rome pay homage to the masters with works by Tchaikovsky, Verdi and Respighi as they’re joined by prodigiously talented pianist Beatrice Rana on night one and Brahms and Strauss with Kyung Wha Chung, one of the greatest violinists of her generation, on night two. Contemporary pioneer Philip Glass, as well as Steve Reich and Maurice Ravel, get the Ars Electronica treatment as the music is brought vividly to life in Pianographique. The Festival Recital Series returns in collaboration with masters and protégés from Queen Elisabeth Music Chapel with The Bach Project – an epic evening of the master composer's complete concertos for two, three and four pianos. One of opera's greatest voices and most beloved personalities, Deborah Voigt is joined by Becchara Moufarrej, the Lebanese tenor for Opera in Concert. Emirati composer Ihab Darwish makes the world premiere of his work with Beethoven Academy Orchestra. There’s a rich diversity of performers from India, the Festival Country of Honour, including Sarod
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29 & 30 March 2018 Emirates Palace Auditorium Arab World Premiere The performance lasts approximately 140 minutes including 2 intervals.
Please ensure that all mobile phones and electronic devices are switched off. The use of cameras, video and tape recorders is forbidden.
A CLASSICAL BALLET IN THREE ACTS
Choreography: José Carlos Martínez inspired by the versions of Marius Petipa and Alexander Gorski
Quiteria, Basilio, Dulcinea, Don Quijote, Sancho, Mercedes, Espada, Camacho, Padre de Quiteria
WOMEN: Helena Balla, Rebecca Connor, Tamara Juárez, Sara Khatiboun, Sara Lorés, Clara
Raúl García Guerrero
Nicolás Fischtel (A.A.I.)
MEN: Niccolò Balossini, Juan José Carazo, Cristian Lardiez, Miquel Lozano, Álvaro Madrigal, Milos Patiño, Iván Sánchez, Roberto Sánchez
Characterisation, Make up and Wigs:
Lou Valérie Dubuis
SEGUIDILLA*: Helena Balla, Rebecca Connor, Clara Maroto, María Muñoz, Laura Pérez
*Additional Choreography of Bolero and Fandango:
Maroto, María Muñoz, Daniella Oropesa, Giulia Paris (29), Ana Pérez-Nievas, Laura Pérez Hierro, Pauline Perraut, Giada Rossi (29), Leona Sivoš (30) Irene Ureña
Hierro, Ana Pérez-Nievas, Niccolò Balossini, Cristian Lardiez, Miquel Lozano, Álvaro Madrigal, Milos Patiño, Roberto Sánchez
TOREROS: Ion Agirretxe, Juan José Carazo, Toby William Mallit, Benjamin Poirier, Iván Sánchez, Rodrigo Sanz
Duration: 120 minutes
* an old Castilian folksong and dance
World premiere by Compañía Nacional de Danza on December 16th 2015 at Teatro de la Zarzuela, Madrid, Spain, by ORCAM (Orquesta de la Comunidad de Madrid) under the direction of José María Moreno
ACT II Quiteria, Basilio, Dulcinea, Don Quijote, Sancho, Camacho, Padre de Quiteria, Cupido, Jefe de los Gitanos
GYPSIES: Tamara Juárez, Sara Lorés, Ana Pérez-Nievas, Irene Ureña, Ion Aqirretxe, Niccolò Balossini, Juan José Carazo, Cristian Lardiez, Álvaro Madrigal, Toby William Mallit, Benjamin Poirier, Iván Sánchez, Roberto Sánchez, Rodrigo Sanz
Cristina Casa (29), Haruhi Otani (30)
Yanier Gómez (29), Alessandro Riga (30)
Giada Rossi (29), Lucie Barthélémy (30)
Aída Badía (29), Natalia Muñoz (30)
Lucie Barthélémy/Leona Sivoš (29), Giulia Paris/Giada Rossi (30)
BRIDESMAIDS: Lucie Barthélémy (29), Sara Lorés (29), María Muñoz, Daniella Oropesa,
Giulia Paris (29), María Muñoz (30)
FANDANGO: Helena Balla, Rebecca Connor, Clara Maroto, Ana Pérez-Nievas, Laura Pérez
Chief of the gypsies
José Antonio Beguiristain
DRYADS: Helena Balla, Rebecca Connor, Tamara Juárez, Sara Khatiboun, Sara Lorés, Clara Maroto, María Muñoz (29), Daniella Oropesa, Giulia Paris (30), Pauline Perraut, Ana PérezNievas, Laura Pérez Hierro, Haruhi Otani (29), Giada Rossi (30), Leona Sivoš, Irene Ureña
ACT III Quiteria, Basilio, Don Quijote, Sancho, Mercedes, Espada, Camacho, Padre de Quiteria, Priest, two maids of honour
Giulia Paris, Pauline Perraut (30), Giada Rossi (30), Leona Sivoš
Hierro, Irene Ureña, Niccolò Balossini, Juan José Carazo, Cristian Lardiez, Álvaro Madrigal, Iván Sánchez, Rodrigo Sanz
PEOPLE: Tamara Juárez, Sara Khatiboun, Sara Lorés (30), Pauline Perraut (29)
Ion Agirretxe, Toby William Mallit, Milos Patiño, Benjamin Poirier, Roberto Sánchez
A NEW STAGING OF A BELOVED CLASSIC
More than twenty five years had gone by since a classical full-length ballet was danced by CND. On December 16, 2015 Compañía Nacional de Danza staged for Don Quixote for the first time, choreographed by José Carlos Martínez, with music by Ludwig Minkus, sets by Raúl García Guerrero and costumes by Carmen Granell. A historical premiere that brought back academic ballet to the repertoire of the Compañía Nacional de Danza in order to celebrate the 400th anniversary of Cervantes’ second part of the famed text. "The Don Quixote ballet by Marius Petipa was, together with Swan Lake, one of the most popular ballets in Russia, where it was created in 1896 upon a musical score by Ludwig Minkus. This colourful work broke with the world of supernatural and ethereal creatures that pervaded 19th Century classical ballet, replacing them with normal village people.
The libretto is based on an episode in the second volume of Cervantes' Don Quixote (Chapter 21, "In which Camacho's wedding is continued, with other delightful incidents"). The action here centres more around Quiteria and Basilio's stormy love affair than the adventures of Don Quixote and Sancho themselves. I used as a base Marius Petipa's original choreography, together with the various versions I have had the chance to dance (Nureyev, Baryshnikov, Gorski). It seemed to me important to maintain the ballet's choreographic structure. But I also wanted to paint a more poetically nuanced Don Quixote in his quest for perfect love, embodied by Dulcinea. At the same time, I needed to draw it all into the essence of our own dance. I think it is very important for a Spanish company production of Don Quixote, even if it is a version of a FrancoRussian classic, to be respectful with our culture and tradition." JOSE CARLOS MARTÍNEZ
Basilio loved Quiteria from his earliest years, and she responded to his passion with countless modest proofs of affection, so that the loves of the two children, Basilio and Quiteria, were the talk and the amusement of the town. As they grew up, the father of Quiteria made up his mind to refuse Basilio his wonted freedom of access to the house, and to relieve himself of constant doubts and suspicions, he arranged a match for his daughter with the rich Camacho, as he did not approve of marrying her to Basilio, who had not so large a share of the gifts of fortune as of nature; for if the truth be told ungrudgingly, he is the most agile youth we know, a mighty thrower of the bar, a first-rate wrestler, and a great ball-player; he runs like a deer, and leaps better than a goat, bowls over the nine-pins as if by magic, sings like a lark, plays the guitar
so as to make it speak, and, above all, handles a sword as well as the best. “For that excellence alone” said Don Quixote at this, “the youth deserves to marry, not merely the fair Quiteria, but Queen Guinevere herself, were she alive now, in spite of Launcelot and all who would try to prevent it.” “Say that to my wife!” said Sancho, who had until now listened in silence, “for she won't hear of anything but each one marrying his equal, holding with the proverb 'each ewe to her like'. What I would like is that this good Basilio, for I am beginning to take a fancy to him already, should marry this lady Quiteria; and a blessing and good luck, I meant to say the opposite, on people who would prevent those who love one another from marrying.” Miguel de Cervantes. Don Quijote de la Mancha, II–XIX
CND TODAY: EFFORT AND CREATIVITY Compañía Nacional de Danza (CND) has been directed by José Carlos Martínez for more than six years, proving that a quality, hybrid national company can work. During his time with CND, Martínez has demonstrated how, with effort and creativity, you can achieve great things. Management know-how has combined pieces from some of the most renowned choreographers of our times, with original creations by Spanish artists, as well as neoclassical works and other academic dance languages. The combination of the most contemporary profiles with more academic ones lies at the heart of today's CND and has been one of its most characteristic achievements since the current management took the helm in September 2011. José Carlos Martínez's concern for attracting a growing audience both through educational programmes and numerous parallel activities are the mark of a CND in the process of expansion. Proof of this lies in the growing number of performances and spectator rates, as well as national and international commitments already closed for the next few years.
CND. THE COMPANY Compañía Nacional de Danza was founded in 1979 under the name of Ballet Nacional de España Clásico with Víctor Ullate as its first Director. His successors in the post were María de Ávila and the extraordinary Russian ballerina Maya Plisétskaya. Then, in 1990, Nacho Duato was named Artistic Director of the company. Duato’s appointment brought innovative change to the company. Up to his departure in 2010, he contributed forty-five choreographic works, praised by critics worldwide. After one year under the artistic direction of Hervé Palito, the Compañía Nacional de Danza appointed its current Artistic Director, José Carlos Martínez. He took office on September 1st, 2011, after leaving his post as Principal Dancer of the Paris Opera Ballet. José Carlos Martínez's project for the Compañía Nacional de Danza is to promote dance and to make this art form better known. His repertory is wide, ranging from classical and neoclassical ballet to modern choreographic language, within a setting of full artistic and creational freedom. It embraces both new Spanish and international creations, drawing in new audiences and boosting the company's national and international projection.
2017/18: A NEW SEASON FOR FURTHER GROWTH THE SEVENTH SEASON UNDER JOSÉ CARLOS MARTÍNEZ AS CND DIRECTOR An introduction from Compañia Nacional de Danza Following six years of hard work, the CND today boasts a broad repertoire ranging from classical works to the contemporary choreographic creations of the 21st and 20th centuries. The number of national and international tours has grown considerably since 2010. That growth is in parallel to the development of our training programme, increased social participation and the search for new audiences. The 2017/2018 season sees our progress continues down that same road, with new and widely varying choreographies entering the CND’s repertoire. From maestro Kylian’s ‘Gods and Dogs’ to the French non-danse piece ‘The Show Must Go On’, by Jérôme Bell, the repertoire encompasses pieces such as ‘Hikarizatto’, by Itzik Galili, and also includes ‘Por Vos Muero’, an in-house piece from one the of the most creative periods of former CND director Nacho Duato. The company has grown this season with the help of INAEM and now hosts a cast of 50 dancers. With a view to the future, this troupe is already in the process of preparing a new classical
production of a ‘Nutcracker Suite’, to debut the following season and then tour the greatest theatres of our country. Our production of ‘Carmen’, which debuted in 2015 to win the Prix Benois de la Danse, will now tour France, South Korea and Sweden, before heading out to the West Coast of USA, a country the company has not visited for some years. As well as visiting Abu Dhabi in the company’s Arab world debut, ‘Don Quixote’ will tour Spain. Our production ‘Una Noche con Forsythe’ (‘A Night with Forsythe’) will visit France before touring at home. In our home tours, audiences can also experience works by such prestigious choreographers as Jerome Robbins, Roland Petit and Marius Petipa (whose 200th birthday we will celebrate) as well as other, emerging choreographers, demonstrating the company’s diversity and versatility. A new call for contenders to enter our creative residencies will be held. We will also be holding a range of activities (workshops, gatherings, talks, open-door events), with a view to bringing dance closer and closer to people, growing our loyalty base and audience.
JOSÉ CARLOS MARTÍNEZ Artistic director of the Compañía Nacional de Danza de España. Commandeur de l'ordre des arts et des lettres (France). National dance prize 1999 (Spain).
BRIDGING GAPS BUILDING OPPORTUNITIES
José Carlos Martínez began his ballet studies in Cartagena, under Pilar Molina, continuing in 1984 at the Centre de Danse International Rosella Hightower in Cannes. In 1987, he won the Lausanne Prize and joined the Paris Opera Ballet School. In 1988, he was personally selected by Rudolf Nureyev to join the Ballet Company of the Paris Opera as a corps de ballet dancer. In 1992, he was promoted to Principal Dancer and won the Gold Medal in the International Competition of Varna. On 27th May 1997, he was appointed 'Etoile' of Paris Opera Ballet, the highest category a dancer can rise to. During his career José Carlos Martínez was awarded numerous prizes, including: the Prix de l ‘AROP; the Prix Carpeaux; the Premio Danza & Danza; the Prix Léonide Massine-Positano; the Spanish National Dance Prize; the Gold Medal of the City of Cartagena; the Prize Elegance et Talent France/Chine; Scenic Arts Prize for the best dancer (Valencia); Benois de la Danse for his choreography Les Enfants du Paradis and the Prize Dansa València. He is Commandeur de l'Ordre des Arts et des Lettres (France).
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José Carlos Martínez's repertoire as a dancer is characterized by his famous choreographies of classical and neoclassical ballet. Apart from that he has worked with most of the important choreographers of the 20th Century such as Maurice Bejart, Pina Bausch, Mats Ek, William Forsythe, some of whom created pieces specially for him. On invitation, he has also featured as guest performer with many of the world's most prestigious ballet companies. As a choreographer José Carlos Martínez is behind many creations. For students of the Paris Opera Ballet School he created Mi Favorita (2002), Delibes-Suite (2003) and Scaramouche (2005). For the Paris Opera
Ballet itself he created Paréntesis 1 (2005), Soli-Ter (2006), El Olor de la Ausencia (2007), Les Enfants du Paradis (2008) and Scarlatti pas de deux (2009). For the Shanghai Ballet he created Marco Polo and the Last Mission (2010). For Compañía Nacional de Danza de España he has created Sonatas (2012), Raymonda Variations, Don Quixotte Suite (2015) and La Favorita (2017). He also created Resonance (2014) for the Boston Ballet. José Carlos Martínez is also behind the CND's first full-length classical ballet for 20 years: his own version of Don Quixote, which was premiered at Teatro de la Zarzuela Madrid, on December 16th 2015 and has been ever since touring through Spain and abroad with a huge success and unanimous praise from reviewers. In 2018 he will premiere his version of Nutcraker, which second act pas de deux was pre-staged last October 14 at Centro Niemeyer, Avilés, Spain. José Carlos Martínez has been the Artistic Director of Spain's Compañía Nacional de Danza de España since September 2011.
LEAD PRINCIPAL Alessandro Riga. Basilio
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Born in Crotone (Italy), Alessandro graduated cum laude from the Teatro dell'Opera di Roma school in 2004. During that time, he received prestigious Italian prizes as a young promising talent (Danza & Danza, Premio Positano, Premio Adriana Panni, Spoleto Danza, Danza in Fiera). After graduation, he went to Semperoper (Dresden) under Vladimir Derevianko's direction where he danced as a soloist and principal dancer in most of the company's productions. In 2006, he went back to Italy, entering the Maggio Musicale Fiorentino (Florence) as Principal Guest Dancer until 2013, under Vladimir Derevianko and Francesco Ventriglia's direction. During that time, he was also invited as Principal Guest in some of the most prestigious Italian Theaters: Teatro dell'Opera di Roma, Teatro Massimo di Palermo, Arena di Verona and Teatro alla Fenice di Venezia. His repertoire goes from the most famous classical ballets, such as Don Quixote, Giselle, la Sylphide, la Fille mal Gardèe, Romeo and Juliet and Cinderella, to the most important contemporary
choreographies of our time, such as R. Petit, M. Bejart, W. Forsythe, J. Kylian, S. Lynke, J. Neumeier, G. Balanchine, A. Foniadakis, F. Ventriglia, U. Scholz, sharing the stage with partners such as S. Guillem, E. Abbagnato, E. Obrazova, C. Fracci. In 2012, his home town nominated him ‘Cittadino Illustre’ (Honorary Citizen). In September 2013, he joined Compañía Nacional de Danza as principal dancer under the direction of José Carlos Martínez. Since then, he has danced leading roles in ‘In the Middle Somewhat Elevated’ and ‘Herman Schmerman’ by William Forsythe, ‘Casi-Casa’ by Mats Ek, ‘Sonatas’, ‘Delibes Suite’ and ‘Don Quixote Suite’ (Basilio) by José Carlos Martínez, ‘Allegro Brillante’ by George Balanchine and ‘Minus 16’ by Ohad Naharin. He was nominated for the Benois de la Danse award in the category of best dancer for his performance in ‘L'Arlesienne’ by Roland Petit, who was especially well received by the audience and international critics.
PRINCIPAL DANCERS Cristina Casa. Kitri
Esteban Berlanga. Espada
Born in Madrid, Cristina Casa started her training at the Escuela África Guzmán. In 2005, she continued her studies at Steps on Broadway and the American Ballet Theatre. She won first prize in the city of Castellón in the shape of a scholarship to study both at the CND and the The London Studio Center. She eventually joined the latter company, touring around UK. In 2007 she also danced with the English National Ballet.
Larbi Cherkaoui and Hans Van Manen, among others. At that same company, she danced principal roles such as: Juliet in ‘Romeo and Juliet’, de Slava Samodurov, ‘Tyll’ by Alexander Ekman, as part of the main couple, Olga ‘Oneguin’ by John Cranko, Kitri in ‘Don Quixote’ by Alexei Fadeyechev, Young Girl in ‘Green Table’ by Kurt Joos and Aurora in the production of ‘Sleeping Beauty’ by Marcia Haydée.
In 2008 she entered the Corella Ballet in Spain as an inaugural member under the directorship of Ángel Corella, becoming a soloist there the following year. While at that company, she danced numerous pieces by different choreographers, including Natalia Makarova, Clark Tippet, Twyla Tharp, Ángel Corella, Jerome Robbins, Christopher Wheeldon, Rojas and Rodríguez, among others. In September 2012, she won the Gran Premio ‘Giuliana Penzi’ in recognition of her talent in the 10th Edition of Labat Loano Danza in Italy.
In October 2015, she was invited by Gruber Ballet Opéra, together with her partenaire Ion Agirretxe, to dance with soloists at the Ópera de París, in Carcassonne (France). Their dance was a pas de deux created for them by the Spanish choreographer Altea Núñez. The partners have also been invited recently to dance at the Etoile Ballet Gala 2015 in Latvia.
In 2012, she joined the Royal Ballet of Flanders, dancing choreographies by Balanchine, Wayne McGregor, Ashley Page, Cameron McMillan, Jiri Kylian, Edward Clug, Glen Tetley, Giacoppo Godani, Christian Spuck, Cynthia Harvey, Sidi
In December 2015, she was invited as guest dancer by the Compañía Nacional de Danza (CND), under the directorship of José Carlos Martínez, to dance the role of Kitri in the ‘Don Quixote’ ballet in Madrid’s Teatro de la Zarzuela. September 2016 marks her entry into the Compañía Nacional de Danza as soloist; in 2017 she was promoted to the category of Principal Dancer.
Born in Albacete, Spain, Esteban Berlanga began his dance studies at the Conservatory of Music and Dance in Albacete, completing them later at the Mariemma Royal Conservatory of Dance in Madrid. Esteban was part of the Young Company Europa Danse for three years. In 2006 he won the first prize at the Young Artists of Castilla-La Mancha contest. In the same year he joined the English National Ballet's (ENB) corps de ballet, becoming first artist in 2007, soloist in 2009 and first soloist in 2012. On Tamara Rojo's behest, he worked on the creation of ‘No Man's Land’ by Liam Scarlet with the ENB and he also performed in Granada's Generalife in 2014. He has participated in numerous galas around the world accompanied by international stars like Tamara Rojo, Daria Klimentová, Erina Takahashi and Begoña Cao, among others. He has also worked in various dance productions for his hometown, Albacete. Berlanga has been nominated several times for the National Dance Awards in the UK and also for the Benois de la Danse in Moscow in 2010.
His classical repertoire includes leading roles in ‘Swan Lake’, ‘Sleeping Beauty’, ‘Manon’, ‘The Nutcracker’, ‘Giselle’, ‘Raymonda’, and ‘Cinderella’, among others. On special invitation, he has danced the role of Pinkerton in ‘Madame Butterfly’ with the Australian Ballet. Choreographers like Goyo Montero, Derek Deane, Ernst Meisner and Itzik Galili have created specific roles for him and David Dawson created Faun(e) for him. In September 2013, he joined Compañía Nacional de Danza, now under the artistic direction of José Carlos Martínez, as principal dancer. Since then, he has danced leading roles in ‘Raymonda Divertimento’, ‘Les Enfants du Paradis’ and ‘Don Quixote Suite’ of José Carlos Martínez, ‘In the Middle, Somewhat Elevated’ of William Forsythe, ‘Allegro Brillante’ of George Balanchine, ‘Giselle’, pas de deux of Jean Coralli and ‘Jules Perrot’, Suite No. 2 by Uwe Scholz and the Swan of Ricardo Cué. He has also worked in other ballets for renowned choreographers, such as Ohad Naharin and Itzik Galili, among others.
Anthony Pina. Chief of the Gypsies
Knowledge Knowledge in thepalm palm in the of yourhands. hands. of your
Anthony was born in Boston MA, USA, and began dancing at the Boston Ballet school at the age of 8. In 2001, he attended Walnut Hill School for the Arts on full scholarship under the direction of Michael Owen. Upon graduating in 2005 he was accepted to the Jacqueline Kennedy Onassis School at American Ballet Theatre training with Franco De Vita, Kevin McKenzie, and Kirk Peterson among others. In 2006 he joined Alberta Ballet in Calgary Alberta, Canada where he spent the past six seasons. Working closely with Jean Grand-Maitre he rose quickly, taking on many great challenges and opportunities. For instance, he has danced roles such as Puck in ‘A Midsummer Night's Dream’ by Christopher Wheeldon, Karl the Nutcracker Prince in ‘The Nutcracker’ by Edmund Stripe,
and Blue Bird in ‘The Sleeping Beauty’ by Kirk Peterson, among many others. In September 2012, he joined Compañia Nacional de Danza under the direction of José Carlos Martínez. In September 2013, he was promoted as a Principal Dancer. Since then, he has danced leading roles in ‘Don Quixote Suite’ as Basilio, ‘Delibes Suite’, ‘Raymonda Divertimento’, ‘Sonatas and Scarlatti’ pas de deux by José Carlos Martínez, ‘In the Middle Somewhat Elevated’ and ‘Herman Schmerman’, by William Forsythe, as well as ‘Allegro Brillante’ and ‘Who Cares?’, by George Balanchine. He has also dance in other's prestigious choreographers works, such as Goyo Montero and Ohad Naharin.
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SOLOIST DANCERS Aída Badía. Mercedes
Yanier Gómez Noda. Basilio
Born in Santander (Cantabria), Aída Badía started her studies in the Belin Cabrillo dance school. She received a scholarship from the Fundación Marcelino Botín to complete her formation in the Real Conservatorio Profesional in Madrid. In 2003, she entered the Centro Coreográfico in Valencia, working with different choreographers such as Thomas Noone, Ramón Oller and Patrick de Bana. The following year, she won the Lladró award for best performance in Valencia's Danza Festival. From 2004 onwards, she danced with Nafas Dance Company, under Patrick de Bana's direction, the Ballet Madrid, under Pascal Touzeau's direction and the Santamaría Dance Company. She was also invited to perform in El huso de la Memoria, by Eva la Yerbabuena and has appeared in international shows, as well as working with different Spanish choreographers. She also had parts in the Carlos Saura films ‘Iberia’ and ‘Fados’. She joined the Compania Nacional de Danza in 2012. In September 2016 she was promoted to Soloist Dancer. Since joining the company, she has performed leading roles in a number of ballets, including ‘In the Middle Somewhat Elevated’ and ‘Herman Schmerman’ (pas de deux), both by William Forsythe, and Ohad Naharin's ‘Minus 16’ (Pas de deux). She has been casted for parts in a range of other choreographic works, such as ‘Falling Angels’ (Jirí Kylián), ‘Casi-Casa’ (Mats Ek), ‘Carmen’ (Johan Inger), ‘Nippon Koku’ (Marcos Morau), ‘Romeo and Juliet’ (Goyo Montero) and ‘Demodé’ (Iván Pérez), among others.
Born in Havana in 1989, Yanier Gómez Noda started her studies at the city’s Alejo Carpentier elementary ballet school. Still in the Cuban capital, she moved on to the Escuela Nacional de Ballet, under the tutorship of Dailena Ruiz, Nor María Olaechea and Ramona de Saa, among other prominent teachers. She competed in various international contests in Havana, attaining, at the age of 17, Gold and Grand Prix as part of the best couple.
In 2008, she joined the Ballet Nacional Cuba under the artistic-technical directorship of Alicia Alonso. In 2013, she was promoted as Principal Dancer, dancing main characters in Swan Lake, Cinderella, Giselle and The Sleeping Beauty among others roles. She also performed in the international festivals of Havana and Wales shoulder to shoulder with stars from the American Ballet Theatre. In 2014, she joined the Ballet Revolution project where she danced the company’s full classical and contemporary repertoire. Two years later, she joined the Victor Ullate ballet company. In September 2016, she entered the Compañía Nacional de Danza, under the directorship of José Carlos Martínez, as a Soloist Dancer.
Lucie Barthélémy. Dulcinea & Two friends
Born in Le Mans, France, Lucie Barthélémy started her ballet studies in the Conservatoire National de la Région de Tours, where she finished in 2000 with the First Prize. She immediately entered the Paris Conservatoire National Supérieur, where she worked with Paris Opera Ballet teachers, such as Christa Charmolu, Claude de Vulpian, Wilfride Piollet or Cyril Atanassoff. In 2004, she received the Certificate of Dance, with First Prize, and in 2005 the Certificate of Performance. She then went on to join the Bayerisches Staatsballett in Munich, under Ivan Liska's direction. During that time, she danced numerous classical ballets, such as ‘The Bayadère’, ‘Swan Lake’, ‘Giselle’ and ‘Sleeping Beauty’, as well as Balanchine's neoclassical ballets and those by Jerome Robbins and Sir Frederick Ashton. She also worked with internationally renowned choreographers such as Jirí Kylián, Mats Ek, William Forsythe and John Neumeier. She joined Spain's Compañía Nacional de Danza in September 2012 under José Carlos Martinez's direction. In September 2016, she was promoted as a Soloist Dancer. Since entering this company she has performed leading roles in ‘Sonatas’, ‘Raymonda Divertimento’, ‘Don Quixote Suite’, ‘Don Quixote (in the role of Dulcinea) all by José Carlos Martinez, as well as ‘Three Preludes’ by Ben Stevenson, ‘Who Cares?’ by George Balanchine, ‘Giselle pas de deux’ by Jean Coralli & Jules Perrot, ‘Herman Schmerman’ by William Forsythe and ‘In the Night’ by Jerome Robbins.
Natalia Muñoz. Mercedes
Born in Madrid, Natalia Muñoz graduated in dance in the Real Conservatorio Profesional of Madrid, under Virginia Valero´s direction. Her teachers included Julia Estévez, Marisa Martínez, Rosa Naranjo, Ana Baselga, Luisa Ramosa and Eva López Crevillén, among others. In 2002, she joined the Berlin Deutsche Opera, under Sylviane's Bayard's direction and two years later she began work with the Staatsballett Berlín, under Vladimir Malakhov. She has danced in classical ballets including 'Giselle', 'Sylphide', 'Bayadere', 'Swan Lake', 'Sleeping Beauty', and 'Sylvia' and has also performed in neoclassic and contemporary pieces by 20th and 21th century choreographers. She joined the Compañía Nacional de Danza in September 2012. In 2014, the company promoted her as a Soloist Dancer. Since joining CND she has danced leading roles in 'Don Quixote Suite', 'Raymonda Variations' and 'Delibes Suite', by José Carlos Martínez; 'Allegro Brillante' and 'Who Cares?' by George Balanchine. She has also worked with other prestigious choreographers such as William Forsythe, Ohad Naharin, José Carlos Martínez, Tony Fabre, Goyo Montero, Jirí Kylián and Johan Inger, among others.
CORPS DE BALLET Marcos Montes. Don Quixote
María Muñoz. Cupido
Haruhi Otani. Kitri
Giulia Paris. Cupido & Two Friends
Born in Madrid, Marcos Montes graduated from the Mariemma Real Conservatorio Profesional de Danza. In 2011, he was accepted on the Boston Ballet School summer programme. While there, he won a scholarship for the Boston Ballet, training under the directorship of Mikko Nissinen and dancing major ballets such as ‘Romeo and Juliet’, ‘Don Quixote’ and ‘The Nutcracker’ by John Cranko and Rudolf Nureyev. That same year, he also won a scholarship from the Madrid Autonomous Community as well as the Pao Scholarship (Boston Ballet Sponsor).
Maria Muñoz was born in Cabezo de Torres, Murcia, Spain. She started her dance studies at the Professional Dance Conservatory in Murcia, at the age of 10, where she studied for five years with Fuensanta Zomeño. In 2008, she moved to
Born in Japan in 2010 Haruhi Otani began her training as a professional ballerina at the Sasaki Mika Ballet Academy en Kanagawa, Japan.
Born in Italy, Giulia Paris’ academic training took place at diverse schools around the country, including the Centro Studi Coreografici Teatro Carcano di Milano, directed by Margarita Smirnova and the Hamlyn and Opus Ballet di Firenze. She also studied at the Washington Ballet School. In 2010, she joined the Balletto di Milano working with renowned choreographers such as Giorgio Madia and Adriana Mortellitti. During that time, she danced in Italy's most important theatres and took leading roles in choreographies such as ‘Romeo and Juliet’ and ‘Cinderella’ by Giorgio Madia, as well as other classics, such as the ‘Nutcracker Suite’. Throughout her professional career, she has participated in numerous dance events, both in Italy and other countries, such as the Gran Galá del Balletto Imperiale, Gran Galá de dance (Milan), Roma in danza and Talenti della danza a Venecia, among others. She joined the Compañía Nacional de Danza in September 2014, under José Carlos Martínez's direction. Since then, she has danced important roles in ‘Raymonda Variations’ (variation) and ‘Don Quixote Suite’ (damme d'honneur) both by José Carlos Martínez. She has also danced in other ballets like ‘Allegro Brillante’, by George Balanchine.
In 2012, he joined the New Jersey Atlantic City Ballet, as a Corps de Ballet dancer, but also dancing as soloist in ballets suchas as ‘Carmen’ and ‘The Nutcracker’. In 2014, he continued his dancing career joining the caraBdanza company and dancing neoclassical and contemporary pieces. In October 2015, he collaborated with the Compañía Nacional de Danza in its production of ‘Don Quixote’ under the directorship of José Carlos Martínez. He also danced in the CND’s production of ‘Raymonda Divertimento’. September 2016 marked his full entry into the Compañía Nacional de Danza.
the Víctor Ullate school in Madrid, where she also participated in Ullate's Young Ballet Company (Young Ballet of Alcobendas). There she studied under teachers such as María Fernandez, Ana Noya, Marta Hernández, Giselle Deyá, Victor Ullate and Arantxa Sagardoy, among others.
In 2011, she entered the English National Ballet School, attaining a diploma in 2012. She also formed part of the ENB Young Ballet ‘My First’. From 2012 to 2013, she worked as apprentice with the Dresden Semperoper Ballet Company, dancing in ‘Swan Lake’, ‘Bayadere’, ‘Coppelia’ and ‘The Nutcracker’, among others. She joined the Compañía Nacional de Danza in January 2014. Since then, she has danced important roles in ‘Raymonda Variations’ by José Carlos Martínez, ‘In the Middle Somewhat Elevated’ by William Forsythe, and ‘Allegro Brillante’ by George Balanchine. She has also danced in other productions such as the ‘Don Quixote Suite’ and ‘Sonatas’, by José Carlos Martínez, the ‘Holberg Suite’, by Tony Fabre, ‘Allegro Brillante’, by George Balanchine and ‘Minus 16’, by Ohad Naharin, among other works. She took part as a guest in the III Gala de Bailarines Murcianos where she danced ‘Scarlatti’, pas de deux, by José Carlos Martínez.
She has won several awards at international contests. In 2012, she won the Bronze Slipper at the Le Chausson D’Or International Classical Dance Contest (Paris, France), in 2014 she won first prize at the Kobe Dance Contest (Kobe, Japan) and made it to the semi-finals at the Prix de Lausanne Contest (Lausanne, Switzerland). In July 2014, she won the Grand Prix at the International Ballet Contest in Tokyo, being rewarded with three months at the National Dance Company. During this period, she danced solo roles in ‘Delibes Suite’, ‘Quixote Suite’ and ‘Raymonda Divertimento’, by José Carlos Martínez. In September 2015 she joined the Compañía Nacional de Danza.
Giada Rossi. Dulcinea & Two friends Leona Sivoš. Two Friends
Jesse Inglis. Camacho
Giada Rossi began her studies at the Ballet Centre School of Florence, with Sabrina Margarolo. In 2005, she received a scholarship from Pierino Ambrosoli Foundation to continue her studies at the National Conservatory in Paris, working with teachers including Christa Charmolu and Claude de Vulpian.
An Australian citizen, Jesse Inglis began his studies at the Redlands Ballet and Dance Academy in Sidney with John Byrne. From 2004 to 2007, he furthered his Studies at Canada’s National Ballet School in Toronto, working with Lindsey Fischer, Shaun Amyot and Mavis Staines, among others. The following year, he entered as an apprentice at the Dortmund Ballet in Germany. In 2008 he joined the Corps de Ballet at the National Dance Company of Mexico, going on to perform as soloist that same year. During that period he interpreted several main roles in ballets such as Swan Lake (Sigfried), The Cunning Little Vixen, by John Cranko, Nutcracker (Pas de Deux of the Snow), Mona Lisa, by Itzik Galili, Messiah, by Mauricio Wainrot, La Fille Mal Gardée (Mamá Simone), among others. During his professional career he has participated on several occasions at the Albuquerque Pro Musica Festival (New Mexico, USA), the Cervantino International Festival (Guanajuato, Mexico), and once at the Dance Salad Festival (Houston, USA). He joined the Compañía Nacional de Danza in September 2015.
In 2007, she danced ‘Swan Lake’ with the Leipzig Ballet and then entered the Royal Ballet School. The following year, she danced ‘Nutcracker’, ‘Elite Syncopation’ and ‘Dante Sonata’ with the Birmingham Royal Ballet, with teachers including Antonieta Sibley, Anthony Dowell and the choreographer Wayne McGregor. In 2009, she danced several roles in the classical repertoire with the Royal Ballet Company, taking part in ‘Larina Waltz’, choreography by Ashley Page. That year, she graduated at the Royal Ballet School and entered the Bordeaux National Opera, taking part in ‘Swan Lake’, ‘Coppelia’, ‘Nutcracker’, ‘Giselle’, ‘Sleeping Beauty’ (Aurora), ‘Raymonda’, ‘Paquita’ (variation), by Charles Jude, ‘Who cares?’ by George Balanchine, ‘An American in Paris’ and ‘Rhapsody in Blue’, composed by Gershwin, and several choreographies by Anthony Egea, Mauricio Wainrot and Félix Blaska. Throughout her training and professional career, she has won several grants and dance contests. She joined the Compañía Nacional de Danza in September 2015.
Born in Zagreb, Croatia, Leona Sivoš studied at the Classical Ballet School of Zagreb under Suzana Bačić. In 2009, she joined the Thuringen Ballet Theatre of Gera directed by Ivaylo Iliev. In 2010 she joined the Theater Krefeld/Moenchengladbach (Germany) directed by Robert North. In 2013, she was hired as a soloist at the Croatian National Theatre in Split directed by Dinko Bogdanic. During her academic training, she danced roles in choreographies by Petipa (La Bayadère, Sleeping Beauty, Swan Lake, Nutcracker), Balanchine (Serenade), and others. In May 2006 she won first prize in the youth category of the New Generation Youth International Contest in Gyor (Hungary). In July 2006 she won first prize and won the Carlota Grissi special prize of the jury to the most talented young ballerina at the Croatian State Ballet and Dance Contest in Zagreb. In 2007, she reached the quarterfinals of the Prix de Lausanne (Switzerland). In 2014 she won the bronze medal in the senior category of the Croatian State Ballet and Dance Contest in Zagreb. She joined the Compañía Nacional de Danza in September 2015.
COMPAÑÍA NACIONAL DE DANZA DE ESPAÑA Artistic Director: José Carlos Martínez
Ballets Masters: Cati Arteaga, Anael Martín, Elna Matamoros, Yoko Taira
Executive Director: Daniel Pascual
Artistic Coordinator: Jesús Florencio
Head of Administration: Sonia Sánchez
Pianists: Carlos Faxas, Viktoria Glushchenko
Co-Artistic Director: Pino Alosa
Phisical Therapist: José Ignacio Pérez, Laura Hernández
Lead Principals: Seh Yun Kim, Alessandro Riga
Masseur: Mateo Martín
Principal Dancers: Cristina Casa, Kayoko Everhart, Esteban Berlanga, Isaac Montllor, Anthony Pina
Communication Manager: Maite Villanueva
Soloists: Aída Badía, Lucie Barthélémy, Elisabet Biosca, Natalia Muñoz, YaeGee Park, Yanier Gómez, Erez Ilan, Toby William Mallitt, Aleix Mañé, Daan Vervoort Corps de Ballet: Mar Aguiló, Helena Balla, Rebecca Connor, Tamara Juárez, Sara Khatiboun, Sara Fernández, Agnés López, Sara Lorés, Clara Maroto, María Muñoz, Daniella Oropesa, Haruhi Otani, Giulia Paris, Shani Peretz, Laura Pérez Hierro, Ana Pérez-Nievas, Pauline Perraut, Giada Rossi, Leona Sivoš, Irene Ureña, Ion Aguirretxe, Nicolò Balossini, Juan José Carazo, Ángel García Molinero, Jesse Inglis, Cristian Lardiez, Miquel Lozano, Álvaro Madrigal, Marcos Montes, Milos Patiño, Benjamin Poirier, Iván Sánchez, Roberto Sánchez, Rodrigo Sanz
Assistant to Communication Manager: José Antonio Beguiristain Production Director: Luis Martín Oya Production: Javier Serrano Assistant to Executive Director: Amanda Pérez Vega Administration: Susana Sánchez-Redondo Staff: Rosa González Concierges: Miguel Ángel Cruz, Teresa Morató Technical Director: Luis Rivero Technical Office Team: Eduardo Castro, Deborah Macías Stage Managers: José Álvaro Cotillo Stage Hands: Francisco Padilla, Germán Arjona Electricity: Lucas González, Juan Carlos Gallardo, José Manuel Román Video&Sound: Jesús Santos, Pedro Álvaro, Rafa Giménez Wardrobe: Ana Guerrero, Mª del Carmen Ortega, Mar Aguado, Teresa Antón, Mar Rodríguez Wardrobe Archive: Luisa Ramos, Eva Pérez Properties: José Luis Mora Storehouse: Reyes Sánchez
A CLASSICAL BALLET IN THREE ACTS Choreography: José Carlos Martínez inspired by the versions of Marius Petipa and Alexander Gorski Music:...
Published on Mar 29, 2018
A CLASSICAL BALLET IN THREE ACTS Choreography: José Carlos Martínez inspired by the versions of Marius Petipa and Alexander Gorski Music:...