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Anael Martín

Anael Martín. CND Repetiteur

She worked under the artistic direction of Alicia and Fernando Alonso at the Cuban National Ballet, a company where she spent twenty-five years as lead soloist, teacher and repetiteur.
Throughout her career she worked with teachers such as Fernando Alonso, Karemia Moreno, Aurora Bosch, Loipa Araujo, Josefina Méndez, Mirta Pla, Azari Plisetski and Hugo Guffanti. She danced the whole classical repertoire of the company and collaborated with a number of Cuban choreographers such as Alberto Méndez, Alberto Alonso, Iván Tenorio and international choreographers including Antonio Gades, José Antonio Ruiz, Maria Rovira, Brian Mc Donald, Máximo Morricone and Hilda Riveros, opening her repertoire to folklore, neoclassic and contemporary choreographies.

With the Cuban National Ballet she travelled to over fifty countries in the Americas, Asia and Europe, dancing at famous theatres such as the Bolshoi and Marinsky in Russia, the Champs Elysées in Paris, the Colón in Buenos Aires, the Metropolitan Opera House and the Kennedy Center in USA, among others. She also participated in many Cuban and international dance festivals.

Since 2001, after moving to France, she collaborated with the Blanca Li Company as a teacher and choreography assistant in mises-en-scène at the Paris Opera.
During four years she was the artistic coordinator and teacher of classical ballet at the Andalusian Dance Centre (CAD) in Seville.
She was invited as a teacher at the Opera of Dessau, Germany, during two seasons, with the National Dance Company directed by Nacho Duato, the National Dance Centre of Paris, the Opera of Lyon, the Finnish Ballet, José Carlos Martínez and soloists of the Opera of Paris. She has taught courses at all of the professional dance conservatoires of Andalusia and twice at the National Dance Company directed by José Carlos Martínez.
In September 2015 she joined the National Dance Company directed by José Carlos Martínez as a repetiteur.

José Carlos Martínez Biography


  • CND Artistic Director. José Carlos Martínez portrait

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 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 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.

Artistic CND Staff

Retrato José Carlos Martínez


Director Artístico

Retrato Pino Alosa


Director Artístico Adjunto

Portrait Cati Arteaga


Maestra repetidora

Portrait Anael Martín


Maestra Repetidora

Retrato Elna Matamoros


Maestra Repetidora

Retrato Yoko Taira


Mestra Repetidora

Pino Alosa

CND Co-artistic Director. Pino Alosa

Pino Alosa began his studies in Rome, Italy. He continued his training with Victor Litvinoff, Margarita Trayanova, Tuccio Rigano (Rome Opera Ballet), Robert Strajner, Walter Venditti (La Scala of Milan), Ricardo Nunez (San Carlo of Naples) as well as at Rossella Hightower’s center in Cannes and with David Howard and Stanley Williams in New York.

As a dancer, Pino Alosa’s he has performed various techniques: modern, contemporary, and especially classical ballet. He has performed as a soloist and principal with Italian and international dance companies such as: Louis Falco Dance Company, Grand Theatre de Geneve, Teatro La Fenice of Venice, Teatro Verdi of Trieste, Teatro Petruzzelli of Bari, Aterballetto of Reggio Emilia, Compagnia Italiana del Balletto Classico, Compagnia Artedanza and Compagnia Italiana di Danza Contemporanea of Rome.

In addition to classical Petipa's ballet repertory and several Balanchine's program, he performed works by choreographers Louis Falco, Glenn Tetley, Jiri Kilyan, David Parson, Oscar Araiz, Daniel Ezralow, Jeffrey Cauley, Ronald Van Tigelen, Joseph Russillo, Hans Gruning, Amedeo Amodio, Vittorio Biagi, Tuccio Rigano, Bruno Telloli and Renato Greco.

In December 1990 Pino Alosa receives the award “Fermo Immagine” for his long and versatile career dance.

Pino Alosa choreographs for classical and modern dance companies: his neoclassical works distinguish themselves for an unusual brilliant technique. His solo Rain Man won the Vignale Danza International Competition in 1992.

From 1993 he started to teach professional classes in the main dance studios in Rome and Milan, soon to be considered one of Italy’s most prominent teachers. The technical training and the pointe work in his classes has been quickly demanded by many international ballet companies.

In February 1995 on occasion of the first national dance parade “Pesaro International Dance Day” he was been awarded the best young teacher of the year.

In June 1995 he is invited for the first time by the Etoile of the Paris Opera, Charles Jude, to give class in Bordeaux.

For six years (1996-2001) he has been guest ballet master at the Bordeaux Opera Ballet, participating in the productions of Giselle, Romeo and Juliet, Coppelia, Les Sylphides, Le Spectre de la Rose, Swan Lake, Petrouchka, L’Apres midi d’un faune, Sleeping Beauty, Le Corsaire (pas de deux), Don Quixote, Napoli (pas de six) and Raymonda (pas de dix).

He has taught for numerous other international ballet companies such as: Bayerisches Staatsballet, Rome Opera House Ballet, The Arena of Verona, Aterballetto, Teatro Verdi of Trieste, Balletto del Teatro di Torino, San Carlo Theatre of Naples, Balletto de Sicilia, Real Conservatorio Mariemma de Madrid, Asociación Cultural por la Danza de Madrid, Conservatorio Profesional de Danza Espinillo de Madrid, Compañía Nacional de Danza under the direction of Nacho Duato, Houston Ballet, París Ópera Ballet, Royal Swedish Ballet, Norwegian National Ballet, Basel Ballet, Royal Danish Ballet and Theatro Municipal de Rio de Janeiro.

In the season 2002-03 he was principal ballet master and assistant to the artistic director Florence Clerc at Teatro Comunale of Florence coaching the soloist roles for productions like Carmen, Coppelia, Bayadere and Shéhérazade.

In 2003-04 invited by Gradimir Pankov, Pino Alosa was ballet master for Les Grands Ballets Canadiens of Montreal, where he trained dancers for The Balanchine program, Romeo and Juliet (J.C. Maillot) and Nutcraker. Also, in the next seasons, for the Kylián and Mats Ek programs.

After that he was assistant to Jean Yves Lormeau in Rome Opera House for the restaging of his version of Nutcraker for Carla Fracci.

In January 2007 invited by Artistic Director Mikko Nissinen, Pino Alosa joined the Boston Ballet artistic staff.. His duties include teaching company class, pointe class and male class; staging works, assisting guests with the staging of new or existing choreographies, coaching principal and soloist dancers and rehearsing sections of ballets.In the last four seasons he has been responsible and the assistant for ballets of choreographers such as Petipa, Fokine, Nijinski, Bournonville, Balanchine, Cranko, Kylian, Twila Tharp, J.Kudelka, Val Caniparoli, Helen Pickett. In 2010, Mr.Alosa helped Florence Clerc as assistant choreographer and was the principal ballet master-supervisor for a new full length La Bayadere. Recently for the Boston Ballet he has choreographed and staged the new Company Defilè in 2007 and 2009, the Gala Waltz Memoires Viennoises, and his version of Paquita.

Pino Alosa is frequently a jury member for company auditions, dance competitions and dance school Exams. At the same time continues to be invited to impart master classes or as guest teacher by several international companies.

From September 2011, invited by the new Artistic Director José Carlos Martínez, Pino Alosa will take a permanent charge as Co-Artistic Director of Compañía Nacional de Danza de España in Madrid.

Elna Matamoros

3 elna matamoros cnd equipo artisticoNació en Madrid en 1972. Realizó sus estudios de Ballet Clásico con su madre, Carmina Ocaña, y posteriormente en Nueva York con Wilhelm Burmann, entre otros. Titulada con Matrícula de Honor en exámenes libres por la Real Escuela Superior de Arte Dramático y Danza de Madrid y Master of Arts por la New York University, Department of Music and Performing Arts, con becas de la Comisión Fulbright y de la propia universidad.
Desde 1992 ha impartido clases en centros públicos y privados dentro y fuera de España y cursos de metodología y estilo en diversos conservatorios. Fue maestra y asistente coreográfica del Ballet de Víctor Ullate y profesora de Teoría e Historia de la Danza en el Conservatorio María de Ávila, en Madrid; mantiene además una estrecha vinculación con la Escuela de Ballet Carmina Ocaña.
Paralelamente ha desarrollado su experiencia en el mundo de la danza con conferencias y trabajos de investigación, comités de evaluación y colaborado habitualmente en publicaciones especializadas. Es autora del libro Augusto Bournonville, Historia y Estilo (Akal, 2008) y responsable de la coordinación y edición de Carmen: Gades, 25 años (Fundación Autor, 2008). Desde 2007 es asesora de danza de la Fundación Loewe. En su blogwww.onceuponachacena.com recorre y comenta las diversas artes desde el prisma del profesional de la escena.
En 2002 ingresó como maestra de ballet en el Ballet Nacional de España; a lo largo de los diez años que ha permanecido allí trabajó con coreógrafos como Antonio Gades, José Granero, Pilar López o José Antonio. Desde la temporada 2012-13 es maestra de ballet en  la Compañía Nacional de Danza bajo la dirección de José Carlos Martínez.

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