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  • Foto/Picture: Jesús Vallinas
  • Foto/Picture: Jesús Vallinas
  • Foto/Picture: Jesús Vallinas
  • Foto/Picture: Jesús Vallinas
  • Foto/Picture: Jesús Vallinas
  • Foto/Picture: Jesús Vallinas
  • Foto/Picture: Jesús Vallinas
  • Foto/Picture: Jesús Vallinas
  • Foto/Picture: Jesús Vallinas
  • Foto/Picture: Jesús Vallinas
  • Foto/Picture: Jesús Vallinas
  • Foto/Picture: Jesús Vallinas

THE NUTCRACKER. José Carlos Martínez 2018

  • JOSÉ CARLOS MARTÍNEZ'S STAGING OF THE NUTCRACKER: A GREAT CLASSIC PRODUCTION TO CELEBRATE THE CND'S 40TH BIRTHDAY

  • CND NEXT TOURS / THE NUTCRACKER

  • SAN LORENZO DE EL ESCORIAL. Auditorio de El Escorial. 7 y 8 December, 2018 
  • Buy your tickets to see The Nutcracker
  • SANT CUGAT  DEL VALLÉS. Teatre Auditori. 14 and 15 December, 2018 
  • Buy your tickets to see The Nutcracker 
  • MURCIA. Auditorio y Centro de Congresos Víctor Villegas. 20-22 December, 2018
  • Buy your tickets to see The Nutcracker

 

  • Pictures: Carlos Quezada
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  • BALLET IN TWO ACTS

      • (Next translation) Alternativa accesible al vídeo:
      • 0:00.0-0:02.1
      • Compañía Nacional de Danza
      • 0:02.1-0:02.6
      • Sale el rótulo de Cascanueces. Coreografía: José Carlos Martínez, Música: Pryor Il'yich Tchaikovsky. Al fondo se ven bailarines en un plató vestidos de época para salir en fotografías promocionales.
      • 0:05.9-0:08.0
      • Tres bailarines con indumentaria rusa dan saltos tipo Kasachov, varios cortes de planos frontales y laterales con uno o tres bailarines y finalmente un plano frontal de tres figuras.
      • 0:08.0-0:08.5
      • Plano medio con dos bailarines clásicos, Yanier Gómez y Seh Yun Kim, toma lateral con el perfil de ella extendiendo la pierna y el brazo mientras él la sujeta por la cintura.
      • 0:08.5-0:09.5
      • Primer plano frontal que se abre por corte, dos bailarines se colocan de frente al espectador y levantan dos brazos haciendo una V curvada mientras se sujetan abrazados por el hombro y la cintura. Se miran el uno al otro.
      • 0:09.5-0:10.0
      • Se ve una toma de otra posición lateral de la pareja con el escenario de fondo.
      • 0:10.0-0:10.6
      • Plano general con los dos bailarines en posición frontal, los brazos levantados en V y ella mantiene la pierna extendida y ligeramente doblada.
      • 0:10.6-0:11.8
      • Se liberan y saltan al unísono abriendo la piernas con los brazos extendidos.
      • 0:11.8-0:13.8
      • Vista de ella en plano general de espaldas haciendo un giro en solitario sobre una sola pierna en punta que termina en otro plano general muy abierto donde se ve también un gran foco que ilumina el plató.
      • 0:13.8-0:15.4
      • Entra en plano medio una bailarina de perfil con traje goyesco y un abanico y da un giro.
      • 0:15.4-0:17.1
      • Se abre la toma para abarcar una vista angulada y general de dos bailarinas y un bailarín vestidos con trajes goyescos de tonos granates y negros. Nuevos giros de ellas.
      • 0:17.1-0:19.1
      • Corte a plano general muy abierto donde se ve a los tres bailarines de frente y también parte del equipo de realización. Se ve la sala de ensayo mostrando el fondo blanco sobre el que se fotografía a los bailarines.
      • 0:19.1-0:20.6
      • Entra con otra angulación hacia la derecha y plano general la bailarina Yagee Park con una sombrilla abierta que tapa la parte superior de su cuerpo y la cabeza. Avanza de puntas y gira varias veces, luego sube su sombrilla a lo alto mirando al espectador y en un plano medio que deja ver parte de los focos del escenario.
      • 0:22.9-0:25.0
      • Corte a una pareja con indumentaria barroca en tonos marfil y azul claro. Ella da una giro en plano general mientras él sujeta su cintura, el giro termina en plano medio abierto, ambos extienden los brazos y él la sujeta para que extienda la pierna. Aparecen girados en tres cuartos. Corte a plano general muy abierto con el escenario de fondo y nuevo paso con pierna estirada.
      • 0:25.0-0:26.0
      • Plano medio de tres bailarinas orientales moviendo los brazos sensualmente.
      • 0:26.0-0:26.9
      • Corte y plano medio de una de ellas mostrando el pecho y el vientre en una toma basculada que asciende a la cabeza.
      • 0:26.9-0:28.5
      • Aparece en el siguiente plano sobre una punta, de espaldas y con la pierna extendida hacia el espectador, cuando termina el giro baja los brazos.
      • 0:28.5-0:29.0
      • Corte a plano general muy abierto en el que se muestra a los realizadores trabajando en el plató y a ella bailando muy cerda del fotógrafo.
      • 0:29.0-0:30.1
      • Otra bailarina en plano americano (3/4), moviendo los brazos enlazados hacia atrás y juntando las palmas.
      • 0:30.1-0:31.6
      • Plano con la misma bailarina en puntas y moviendo una pierna hacia la rodilla.
      • 0:31.6-0:32.4
      • Otra bailarina vestida de azul, también con ropas orientales, da un giro sobre las puntas mostrando solo parte del tronco y las extremidades.
      • 0:32.4-0:33.3
      • Cambio de plano, se ve ahora el cuerpo con una gran tensión, y extiende brazos y piernas creando una figura en x, inclinada en diagonal.
      • 0:34.2-0:36.2
      • Plano medio al rostro de Kayoko Everhart y corte en tres planos que muestran un contorneo hacia atrás de cabeza y cuerpo.
      • 0:36.2-0:37.9
      • Se ve en plano general y seguidamente en plano medio abierto todo el grupo oriental formado por 3 bailarinas y un hombre con turbante en el centro de la escena, Erez Ilan. Ellas forman una bonita imagen con los brazos extendidos.
      • 0:37.9-0:38.5
      • Aparece en plano general un grupo de 6 bailarinas con tules muy claros y etéreos, están agitando suavemente sus brazos hacia lo alto antes de dar un salto al unísono.
      • 0:38.5-0:39.6
      • Al caer se ven dos cortes rápidos con ellas alineadas y unidas con una mano en la cintura de sus compañeras y la otra alzada. El siguiente corte las muestra giradas, mirando hacia la derecha. A continuación se ve un plano frontal general con los brazos extendidos en diagonal.
      • 0:40.7-0:42.6
      • Entra un plano medio con tres bailarinas haciendo juegos de brazos, se cierra para mostrar a una de ellas con una gran sonrisa y sobre una sola punta que va girando.
      • 0:42.6-0:43.4
      • Se abre a plano general con dos bailarinas que dan un salto con una toma angulada desde la derecha.
      • 0:43.4-0:44.3
      • Al caer se muestran cuatro parejas alineadas, ellos las sujetan por la cintura.
      • 0:44.3-0:45.3
      • Corte a primer plano del rostro de una bailarina que gira su rostro de izquierda a derecha lentamente. Lleva un bonito tocado en el cabello recogido. Detrás, el resto del grupo hace el mismo movimiento.
      • 0:45.3-0:46.1
      • Toma en plano medio angulado desde la derecha de todo el grupo con los brazos levantados en diagonal.
      • 0:46.1-0:47.7
      • Corte a plano frontal general corto, con las cuatro parejas formando diagonales con los brazos. Corte al mismo plano más abierto.
      • 0:47.7-0:48.7
      • Por el lateral entra un bailarín que da un gran salto con una pierna doblada.
      • 0:48.7-0:49.6
      • Al caer se muestra al bailarín, Alessandro Riga, con su pareja vestida de muselina, Cristina Casa. Extienden de perfil un brazo y una pierna.
      • 0:49.6-0:50.4
      • Primer plano de una imagen de los pies de ambos, él con botas granates y ella en puntas, haciendo un giro.
      • 0:50.4-0:51.3
      • Cuando se completa el giro aparecen los dos en plano medio, ella con los brazos extendidos sigue girando mientras él la sujeta, galantemente, por la cintura.
      • 0:51.3-0:52.1
      • Finalmente se detiene para estirar los dos brazos mientras el la sigue sujetando por la cintura, ambos se miran amorosamente.
      • 0:52.2-0:52.7
      • Corte a plano general con vista del plató, la pareja gira mientras él la tiene levantada con un brazo y el otro extendido horizontalmente y ella estira su brazo libre a lo alto, con el otro se aferra al bailarín. El plano se va aproximando cada vez más hasta un plano medio corto.
      • 0:55.4-0:57.4
      • Tras esta dinámica se ve a los dos en plano americano con dos manos sujetas en lo alto, ella, entre sonrisas, comienza a dar vueltas que terminan con una pierna extendida y agarrada a la mano y el hombro de Alessandro con sus brazos en cruz y girado en tres cuartos. Se cierra el programa en plano general centrado.
      • 0:57.4-0:59.1
      • Pantalla a negro y sobre ella aparece el título Cascanueces y debajo en letra más pequeña: Coreografía José Carlos Martínez, Música: Pryor Il'yIch Tchaikovsky. Debajo varios logotipos, destacan el del INAEM y Loewe.
  • Music: Pyotr Il’yich Tchaikovsky 
  • Choreography and stage direction: José Carlos Martínez 
  • Conductor: Manuel Coves
  • Stage Design: Mónica Boromello
  • Costumes: Iñaki Cobos
  • Lighting Design: Olga García Sánchez
  • Additional choreography (Act II, Spanish dance): Antonio Pérez Rodríguez
  • Director of magical illusions: Manu Vera
  • Costume wardrobe: Cobos Vestuario Escénico, Taller CND, José Luis y sus Chaquetillas
  • Characterisation, makeup and wigs: Lou Valérie Dubuis
  • Prosthesis and Mouse characterisation: Jorge Poza
  • Hats: Sombrerería Medrano
  • Crowns, headgear y complements: Cobos Vestuario Escénico, Milos Patiño
  • Dyes and atmosphere: María Calderón
  • Shoes: Maty
  • Dolls: Mª Cruz Tudela
  • Scenography construction: Scnik Móvil, S.A.
  • Painted curtain laces: Pintura y Modelado Escénico, S.L.
  • Properties and atrezzo: Utilería-Atrezzo, S.L.
  • Scenic textile: Tossal Producciones, S.L.
  • Length: 1h 30m (not including 20 minute interval, approx.)

Consciousness and unconsciousness go together hand in hand in this new production of The Nutcracker. Here, the CND embraces the worlds of childhood and adulthood as if they were communicating vessels in which reality and fantasy mix intimately. The narrative is based on Marius Petipa’s libretto—in turn inspired by Alexandre Dumas’ adaptation of the fairytale penned by Ernst Theodor Amadeus Hoffmann. All conspires in this new performance to transport us to a magical universe bursting with dreams, longing and fantasy.

“After eight years’ work and following the success of ‘Don Quixote’—our first classical production for 25 years—the CND once again stages a great ballet classic: ‘The Nutcracker’. Based on Marius Petipa’s libretto—in turn inspired by E.T.A. Hoffmann’s fairytale, adapted by Alexandre Dumas—the story thrills both adults and children alike, as it floats between two worlds: dreamland and reality, consciousness and unconsciousness, childhood and adulthood. We have staged the action in 1910. The period highlights the contrast between the bourgeois realism of a family party and the imaginary world of Clara,  where her wishes and fears run amok, amidst fantasy imagery; at times wonderful; at times disturbing.  This fine line between reality and fantasy itself expands into a magical universe in which we travel through the memories of our own stories.”  - JOSÉ CARLOS MARTÍNEZ

    • Pictures: Jesús Vallinas
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    • Discovering The Nutcraker

  • With the collaboration of:

Logotipo Fundación Baluarte

LA CND TODAY

THE CND TODAY: EFFORT AND CREATIVITY

Today's National Dance Company (CND), directed by José Carlos Martínez for more than six years now, is proof that a quality, hybrid national company can work. Martinez has demonstrated during his time with CND, how with effort and creativity you can achieve great things. Management knowhow 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 Martinez's concern for attracting a growing audience both through educational programs 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.

COMPAÑÍA NACIONAL DE DANZA

Compañía Nacional de Danza was founded in 1979 under the name of Ballet Clásico Nacional (Ballet Nacional 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 from 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.

CND STAFF

JOSÉ CARLOS MARTÍNEZ

Retrato José Carlos Martí­nez. Foto: Drcopie

  • ARTISTIC DIRECTOR OF THE COMPAÑÍA NACIONAL DE DANZA (SPAIN)

  • COMMANDEUR DE L'ORDRE DES ARTS ET DES LETTRES (FRANCE)
  • NATIONAL DANCE PRIZE 1999 (SPAIN) 
  • 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).

Jose Carlos Martinez's repertoire as a dancer is characterized by his famous choreographies of classical and neo-classical 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 Quixote 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 Pas de Deux of Second Act was pre-staged last October 14, 2017 at Centro Niemeyer, Avilés.

José Carlos Martínez has been the Artistic Director of Spain's Compañía Nacional de Danza de España since September 2011. 

MANUEL COVES

MUSICAL DIRECTION 

He was born in Linares and studied piano, chamber music and orchestra conducting. His most recent outstanding operatic works include: Don Carlo, performed in El Escorial and Teatros del Canal; Otello, performed in el Palma de Mallorca’s Teatro Principal; La Boheme, performed both in the Festival of San Lorenzo de El Escorial and in Valencia’s Palau de Les Arts; Lyrical Recital, performed in Barcelona’s Gran Teatre del Liceu, with G. Kunde and J. J. Rodríguez; La Sonnambula, with the Real Filharmonia of Galicia; El Pintor y El Caballero de la Triste Figura, performed in Teatros del Canal within the activities of the Teatro Real’s outside works; Pepita Jiménez, performed in Teatro Argentino in La Plata, Argentina; Candide, performed in the Summer Festival of the San Lorenzo de El Escorial Auditorium and in Teatros del Canal and, back in Bogota, Rigoletto, Die dreigroschenoper and Carmen, performed in the Julio Mario Santo Domingo Theatre. In dance, we would highlight: Sorolla, performed with the Ballet Nacional de España; Romeo & Juliette, performed with Le Ballet du Grand Théâtre de Genève in Barcelona’s Gran Teatro del Liceu; Carmen, with Compañía Nacional de Danza, performed in Cagliari and Festspielhaus St. Pölten; Electra and Homenaje a Antonio (Hommage to Antonio Ruiz Soler), performed with the BNE in Madrid’s Teatro de la Zarzuela and in Teatros del Canal; El Amor Brujo, performed with La Fura dels Baus in Teatros del Canal; Don Quixote, with the CND and performed in Teatre de Sant Cugat, near Barcelona, as well as in Bilbao’s Teatro Arriaga, in Madrid’s Teatro de la Zarzuela and in Seville’s Teatro de la Maestranza and Handel’s Messiah, with the Ballet Nacional del Sodre. In zarzuela, we would highlight:  La Malquerida, El Caserío, La Verbena de la Paloma and La Revoltosa, all performed in Teatros del Canal; Enseñanza Libre/La Gatita Blanca, performed in Teatro de la Zarzuela; the anthology Viva Madrid, performed in Bogota’s Teatro Julio María Santo Domingo, as well as in the ROH Muscat and in Madrid’s Teatros del Canal; Entre Sevilla y Triana by P. Sorozábal, performed in Bilbao’s Teatro Arriaga; Amadeu, performed in Teatros del Canal, as well as in Baluarte de Pamplona and Campoamor in Oviedo; Luisa Fernanda, performed in Teatro Julio Mario Santo Domingo in Bogotá and the newly premiered recovery of Quo Vadis and Plus Ultra by R. Chapí. On his agenda looking ahead, we have: Orchestra Sinfonica di Milano Giuseppe Verdi and Pepe Romero, conducting The Merry Widow in the Teatro Colón of Buenos Aires; Carmen, in Dresden’s Semperoper; Electra, with the Ballet Nacional de España in the Festival de Teatro Clásico de Mérida and in Cordoba’s Gran Teatro; Carmen, with Víctor Ullate, in Seville and Cordoba; The Nutcracker, in Madrid’s Teatro Real and Don Quixote, with Compañía Nacional de Danza, as well as the zarzuela La Malquerida en Oviedo’s Teatro Campoamor.

He has worked with many outstand orchestras including: the Tonkünstler Orchester; Orquesta Sinfónica de Madrid; Orquesta de la Comunidad Valenciana; Orquesta Sinfónica de Sevilla; L'Orchestra del Lirico Di Cagliari; Orquesta Sinfónica de Bilbao; Orquesta de la Comunidad de Madrid; Orquesta Sinfónica del Gran Teatre del Liceu; Orquesta Sinfónica de Baleares; Orquesta Sinfónica de Murcia; Oviedo Filarmonía; Orquesta de Extremadura; Orquesta Verum; Orquesta Filarmónica de Málaga; Orquesta Estable del Teatro Argentino; Orquestra Sinfônica do Brasília Orquesta Sinfónica National Theater do Teatro Nacional de Brasilia; Orquesta Nacional de Colombia; Orquesta Nacional de Ecuador; Orquesta Sinfónica de Loja and the Madrid Youth Orchestra (Joven Orquesta de la Comunidad de Madrid). He has recorded R. Halffter chamber orchestra work for Naxos with the Orquesta de la Comunidad de Madrid and La Verbena de la Paloma for Decca, Sorolla and Electra for BNE, Alfredo Aracil Sonatas for CND and Federico Moreno Torroba complete Works for Guitar and Orchestra (with guitarists Pepe Romero and Vicente Coves) for Naxos.

MÓNICA BOROMELLO

SET DESIGN 

An Italian set designer and architect, she graduated in architecture at the Venice IUAV in 2003 and, in 2004, she got her Masters in Architettura dello Spettacolo (Architecture of the Spectacle) at the Genoa University of Architecture, kicking off her career in the world of theatre and the scenic arts.

She made her first steps as assistant to renowned set designers such as Guido Fiorato and Valeria Manari and, at the same time, designed her own first sets, working mainly in Genoa’s Teatro Stabile but also in Bologna, Rome, Venice, Milan and Naples, making some incursions into the world of opera and museography. In 2006, she moved to Spain, where she extended her training and career. Here, she designed sets for works by such directors as Miguel Narros, Luis Luque, Ernesto Caballero, Fernando Soto, Luis Bermejo, Carlota Ferrer, David Serrano, Quino Falero, Laila Ripoll, Lautaro Perotti and Pablo Remón. She also collaborated with scenographers such as Andrea D’Odorico, Alfonso Barajas, Elisa Sanz and Lluc Castells.

In parallel, she worked designing exhibitions, macro-events and wardrobes. She has worked teaching Scenographic Installations within the Masters of Scenography at the European Institute of Design in Madrid, while designing temporary installations for bodies such as Acción Cultural Española, Fundación Telefónica, Museo Nacional de Ciencias Naturales (Natural Science Museum), Ayuntamiento de Madrid (Madrid City Hall) and El País.

Her recent montages include: Cronología de las Bestias by Lautaro Perrotti for the Teatro Español; Blackbird by David Harrower for the Festival de Otoño (Autumn Festival); Alexandre le Grand by Jean Racine for the Festival Internacional de Mérida; Love Letters by A.R. Gurney in the Teatros de Canal and El Laberinto Mágico (The Magic Labyrinth) by Max Aub in the Teatro Valle Inclán. 

“The Nutcracker is one of the most performed ballets worldwide, with so many different references and associations as part of a collective heritage. The challenge of coming up with the right scenographic space meant  conjuring a magical, surprising and poetic world, while respecting the fact that we are telling a Christmas story, with all its codes and traditions.” 

Mónica Boromello. Set Designer

IÑAKI COBOS

COSTUME DESIGN

Iñaki Cobos (Navarre, 1989) studied and trained in dance at Pamplona’s Escuela de Almudena Lobón and, on finishing his studies, joined the Ballet de la Generalitat Valenciana.

In parallel to his dance performance, he became increasingly interested in costume design and elaboration. He began to receive costume orders from such organisations as the Conservatorio Profesional de Danza de Valencia and the Ballet de la Generalitat and also from the designer Francis Montesinos.

On ending his dance career, he studied Wardrobe in the Madrid’s Centre for Performance Technology (Centro de Tecnología del Espectáculo de Madrid), completing his studies in the Paris Opera Ballet workshops.

He founded Cobos Vestuario Escénico, a textile and costume workshop for stage arts specialising in ballet costume creation. Here, as well as designing, he also made costumes for other designers. The orders received by his workshop include the making of the tutus for the Don Quixote ballet by José Carlos Martínez for the Compañía Nacional de Danza.

As designer, Iñaki has created designs for organisations like the Compañía Nacional de Danza (Black Swan par de deux by M. Petipa and L. Ivanov and Laurencia by Vakhtang Chabukiani) or the Real Conservatorio Profesional de Danza Mariemma (La Taberna de Don Q by Ricardo Franco).

“The costumes of this Nutcracker create an atmosphere that transports us to the period in  which the main character, Clara, lives. The journey we undertake is at the hand of Drosselmeyer, a magician and Clara’s godfather, who acts as guide and leads us to different places and moments where the action takes place: from a Christmas dinner, set at the beginning of the 20th Century, with a wardrobe marked by the etiquette and materials of the day, to places of fantasy, such as the snowflake forest or the marzipan city.”  

Iñaki Cobos. Costume designer

OLGA GARCÍA SÁNCHEZ (A.A.I.)

LIGHTING DESIGN 

Born in Getafe (a satellite town of Madrid), she started her career in 1991 within the Víctor Ullate Company, working beside Freddy Guerlache and John Spradbery, who she considers to be her maestros. In the mid-90s she was called upon to collaborate with other dance groups, such as María Pagés, marking her incursion into flamenco. Since 2001, she has been working freelance with over 200 designs under her belt. Her work has been seen at the world’s top theatres in Paris, London, New York, Moscow and Berlin among other cities.

Dance: She has done the lighting for production by companies such as María Pagés, Víctor Ullate, Javier Barón, Ángel Muñoz,  Rocío Molina, Carmen Cortés, Alfonso Losa, José Maya, Belén Maya, Belén López, Concha Jareño, Adela and Rafael Campallo, Extremus Danza, Flamenco Festival, Estévez&Paños (Romances, La Consagración, Bailables) Daniel Doña (A Pie, No Pausa, Black Box, Habitat. Cuerpo a Cuerpo), Manuel Liñán (Nómada, Baile de Autor), Marco Flores (Laberíntica), Entredos Ballet Español (Silencios Rotos, Moiras), Enclave Español (En Plata), Dimo Kirilov (Aimless, Entre Mareas, Broken Lines), Antonio Molina El Choro, (ABJ and Gelem) Sharon Fridman (All Ways), Compañía Rajatabla (Am@r and Nora), Compañía Ana Morales (Sin Permiso) and Cristina Gómez (Cambiando el Paso). She has also worked with RCPD (Professional Dance Conservatory since 2008) with creations by Pedro Berdayes, Ricardo Franco, Elvira Andrés and Manuel Liñán, hmong others) and CSDMA (Superior Dance Conservatory since 2010), Ballet Flamenco de Andalucía (Aquel Silverio y Flamenco lorquiano), Antonio Ruz, since his company was founded in 2009 (A la Espagnole, Beautiful Beach, No Drama, Vaivén, Ojo, Presente). She has also collaborated with the Ballet Nacional de España (Electra) and with the CND (Anhelos y Tormentos by Dimo Kirilov, Hasta Siempre by Sharon Fridman and The Nutcracker).

Worthy of mention are some of her lighting designs for musicians, including work for Rosa Torres Pardo, Carmen París, Amancio Prada, Pasión Vega, Pablo Martín Caminero, Daniel Barenboim, Lucas Vidal, Carmen Linares and Banda Inaudita, among others. She has also designed lighting for children’s productions by Marina Bollaín: Yuco, La Gallina Submarina, El Duende Calcetín. In opera, her work includes Macbeth, El Diluvio de Noé, The Threepenny Opera and Bastien und Bastienne.  Her Zarzuelas incluye works such as Adiós Julián or La Verbena de la Paloma. Repeatedly, critics praise her subtlety, sensitivity and the pictorial stamp she makes on her work.

Since 2015, she has collaborated as a specialist contributor with the Conservatorio Superior de Danza María de Ávila.

She is qualified as a Gestal therapist. Her recent projects include research into the relationship between therapy and art.  

“Just like the story and minds of its main characters, the point of departure for the lighting of The Nutcracker is a voyage of freedom. It is a journey that goes from a more realistic atmosphere—Stalhbaum’s house, Christmas, night time—to a universe of endless dreams. The viewer and dancers alike are seamlessly transported to this universe in which the story unfolds, enveloping everybody in a world of colour, imagination and poetry. It is a subtle journey, harmonious and elegant, with gradual shifts and changes that go beyond our historical reference points.”

The Nutcracker by José Carlos Martínez. Pictures: Carlos Quezada

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