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WHO CARES? George Balanchine 1970


  • Choreography:  George Balanchine (© The George Balanchine Trust)
  • Music:  George Gershwin, The Man I Love, I’ll Build a Stairway to Paradise, Embraceable You, Fascinatin’ Rhythm, Who Cares?, My one and only, Liza, I got Rhythm
  • Orchestration: Hershy Kay
  • Lighting design: Nicolás Fischtel (A.A.I.)
  • Staging: Nanette Glushak
  • World premiere on 1970.
  • Premiere by Compañía Nacional de Danza on March 14th, 2013 at Teatro Real, Madrid (Spain). 

In 1937, George Gershwin asked Balanchine to come to Hollywood to work with him on Samuel Goldwyn’s Follies. Tragically, Gershwin was felled by a brain tumor before he completed the ballet music for the film. Thirty-three years later, Balanchine choreographed Who Cares? to 16 songs Gershwin composed between 1924 and 1931.

Balanchine used the songs not to evoke any particular era but as a way of portraying an exuberance that is both broadly American and charged with the distinctive energy of Manhattan.

The performances of Who Cares? and Allegro Brillante are presented and coordinated by The George Balanchine Trust and have been produced in accordance with the Balanchine Style ® and Balanchine Technique ® Service standards established and provided by the Trust.
Costumes made by: Miguel Crespi

  External Link. Album CND Flickr



  • Pas de deux, Act II of Swan Lake
  • Choreography: Lev Ivanov
  • Music: Pyotr Il’yich Tchaikovsky
  • Premiere by the Compañía Nacional de Danza on 14 Octubre 2017 in the Centro Niemeyer (Avilés, Asturias, Spain).

A clearing in the woods beside a lake at the foot of a chapel in ruins. A moonlit night. Siegfried has broken off from his party of friends. He arrives at the clearing next to the lake. He suddenly stops in his tracks on seeing one of the swans turn into a beautiful maiden princess called Odette. At first, she is terrified of Siegfried but he promises to do her no harm. She then tells him she is Odette, the Swan Queen and victim of a terrible spell. The spell can only be broken is somebody who has never before loved swears to love Odette forever. Siegfried strives to win Odette’s trust. They fall in love. Cast: Elenco: Seh Yun Kim/Esteban Berlanga.

L'APRÈS-MIDI D'UN FAUNE. Cayetano Soto 2019


  • (Prelude to the Afternoon of a Faun)
  • Choreography: Cayetano Soto
    Music: Claude Debussy
  • Orchestra: Boston Symphony Orchestra, conducted by Michael Tilson Thomas. (p) 1971 Polydor International GmbH
  • Set Design and Props: Cayetano Soto
    Lighting Concept: Cayetano Soto
  • Artistic Advisor: Dario Susa
    Choreographic Assistants: Mikiko Arai-Kawasaki and Rita Soares
  • Assistant CND Répétiteurs: Yoko Taira and Cati Arteaga
  • Duration: 12 min
  • An original creation by Cayetano Soto for the Compañía Nacional de Danza.
  • Premier in Spain by Compañía Nacional de Danza in Teatros del Canal, Madrid 26 July 2019.

When I received the CND’s commission to revise the classic L’après-midi d’un faune, the first thing that came to mind was the chromatic melody of the flute solo in the overture, together with the word ‘dreamy’ (from an artistic perspective) and a vast vertical garden and the fact that whenever I dream, it is always in black and white. These impulses were my initial guide but, undoubtedly, the structure of the symphonic poem for orchestra, composed by Claude Debussy, and divided into six parts of varying lengths, led me to create the siesta or, more to the point, the dream within the siesta.

I wanted to imagine I dreamed of the faun and transfer that dream to the stage.

My creation is devoted to the faun’s sleep; to its siesta before approaching the nymphs. And it is divided into six parts, as in the score.

During the creation, I wondered which was better: to live the dream or dream the experience lived.

Finally, I took the liberty of using the score’s rhythm (inspired by Nijinsky’s freedom) to achieve a more artistic physical relationship between one performer and another.


Born and based in Barcelona, Cayetano Soto has created works for major companies worldwide. His technical, high-pitched and unpredictable choreography can be seen at international festivals in Europe, USA and Canada.Soto started his dance education in Barcelona at the Institut del Teatre and continued his studies at the Koninklijke Conservatorium in The Hague.

After receiving his degree in Classical Dance, Soto danced with IT Dansa Barcelona in 1997, before joining Ballet Theater Munich a year later where he created several successful ballets and one of his first signature pieces, Fugaz. Since 2005, Soto has worked as a freelance choreographer and has received commissions from Ballet BC, Nederlands Dans Theater, Royal Ballet of Flanders, Zürich Ballet, Balé da Cidade de São Paulo, BJM Montréal, Introdans, Introdans voor de Jeugd, Gauthier Dance Company, Companhia Nacional de Bailado, Perm Opera Ballet Theater, Národní Divadlo Brno, Aspen Santa Fe Ballet, Tanz Luzern Theater, Ballet Hispanico, Maggio Danza Opera di Firenze, BalletX in Philadelphia, Györi Ballet and Northwest Dance Project in Portland.

He also created several ballets with German companies, such as Stuttgart Ballet, Staatstheater Braunschweig, Hessisches Staats Ballett Wiesbaden, Augsburg Ballett, Ballett im Revier, Staatstheater Nürnberg and Ballett Dortmund. In 2009, he began a continuous collaboration with Aspen Santa Fe Ballet and Introdans voor de Jeugd, creating a number of new ballets. For Ballett Dortmund he created a new full evening version of Carmen. Due to the success in Dortmund, Národní Divadlo Brno in Czech Republic staged Carmen in 2010.Soto served as Resident Choreographer for Ballet BC from September 2015 to April 2018.

Arte 1 Brazil broadcast a documentary of six episodes of Cayetano Soto’s 2015 creation ADASTRA for Balé da Cidade de São Paulo.ADASTRA was nominated for Best Dance Performance of the Year by the press in São Paulo. In season 2016/17, Cayetano Soto was the Choreographic Fellowship Mentor for Philadelphia’s BalletX. In 2000, Cayetano Soto was awarded Best Young Choreographer to Watch by the Magazine Tanz Aktuell in Germany for his first choreography Plenilunio commissioned by Ballet Theatre Munich.

Soto was awarded first prize for his ballet 24FPS at the choreographic competition Uncontainable at the Royal Ballet of Flanders in 2006. Canela Fina, commissioned by Balé da Cidade de São Paulo, was awarded Best Dance Production of 2008 by the Brazilian newspaper Folha de São Paulo. Canela Fina, was performed at the Expo in Shanghai by Balé da Cidade de São Paulo in 2010.In 2011, Soto was nominated for the most prestigious dance award in Russia, the Golden Mask Award, for his choreography Uneven.In July 2018, Cayetano Soto was invited to the contemporary dance program of the world famous Jacob’s Pillow Faculty.

LES NOCES. Andonis Foniadakis 2012


  • Choreography: Andonis Foniadakis
  • Music: Igor Stravinsky
  • Musical version: New London Chamber Choir & Ensemble. Director: James Wood. (p) Hyperion. Original Editor: Chester Music
  • Lights design: Sakis Birbilis
  • Costumes design: Anastasios Sofroniou 
  • Assistant to Choreographer: Pierre Magendie
  • World premiere by Ballet Company of Teatro del Maggio Musicale Fiorentin, in Florence, at Verdi Theater, the 27th September, 2012.
  • Premiere in Spain by Compañía Nacional de Danza, in Madrid at Teatros del Canal, 26th July, 2019

“Les Noces of Stravinski is a very powerful musical score that its richness and complexity has fascinated me for the first time I have heard it. Both, the music and the original choreography by Nijinska have become masterpieces and have inspired me in their uniqueness. My version of Les Noces dives deep in the musical score in order to bring to the spectators the power, the magnitude and the complexity of its structure while remaining inspired, but not in a linear way, by the libretto. The mystery, the joy, the vivacity and the sorrow that comes along with the ceremony of a wedding are presented in episodes throughout the choreography. Les Noces has given me a joy of exploring the possibilities a big dance ensemble inspired by the idea of wedding feast where the ceremonial co exists with the freedom of pleasure and where tradition meets new ways of expression.”

Andonis Foniadakis


Andonis Foniadakis grew up in city of Ierapetra, in the south part of the island of Crete, in Greece. He began his dance training with Niki Papadaki at the local dance school, in his hometown. From 1990 to 1992, he studied at the State Dance School of Athens and before his graduation he received the prestigious Maria Callas scholarship to continue his studies in Rudra Bejart Lausanne, in Switzerland until 1994.

As a dancer Andonis has collaborated with: Bejart Ballet Lausanne (1994-1996) under the direction of Maurice Bejart, Lyon Opera Ballet (1996-2002) under the direction of Yorgos Loukos, Saburo Teshigawara / Karas Co. (2004) under the direction of Saburo Teshigawara, as well as, with his own dance company “Apotosoma-Andonis Foniadakis".

During the years of his professional engagement with the above companies he has performed choreographic works of: Maguy Marin, Jiri Kilian, William Forsythe, Dominique Boivin, Nacho Duato, Mats Ek, Maurice Bejart, Ohad Naharin, Frederic Flamand, Bill T Jones, Herve Robbe, Tero Saarinen, Lionel Hoche, Joachim Schlomer, John Jasperse, Saburo Teshigawara etc.

As a freelance choreographer he has collaborated with: Royal New Zealand Ballet, Martha Graham Dance Company, Geneva Ballet, Lyon Opera Ballet, Ballet of Flanders, Rambert Dance Company, Bern Ballet, Sydney Dance Company, Ballet de Lorraine, Luzern Ballet, Gauthier Dance Company, Ballets Jazz de Montreal, Croatian National Theatre, Cedar Lake Contemporary Ballet, Ballet du Rhin, Florence Ballet, National Dance Company of Wales, Dansgroep Amsterdam, Cia Sociedade Masculina-Brazil, Bale da Cidade of Sao Paulo Brazil, Helsinki Dance Company Finland, National Ballet of Greece, National Theater of Northern Greece, Benjamin Millepied Dance Company USA, Washington Ballet, Bejart Ballet Lausanne, Ballet Junior Geneva, Hellenic Dance Company, CNSMD Lyon, Copenhagen International Dance Festival.

Foniadakis has been commissioned to choreograph for 3 operas: Theatre de Champs Elysees - Castor et Pollux, Opera National du Rhin - Les boreades by Rameau, GRAME Lyon - Il canto de la pelle by Claudio Ambrosini

He has collaborated as moving coordinator for the film NOAH by Darren Aronofsky. In 2012 he received the Danza and Danza Award for the “Best Choreographer 2012” in Italy, for the creation Les Noces in Maggio Danza- Florence Ballet. As well in 2017 he has collaborated as a curator with Palais de Tokyo and Pavillon Neuflize OBC in collaboration with Foundation Fluxun/Fluxum Laboratory for the project Prec(ar)ious Collectives. He has been artistic director of the Greek National Ballet for the season 2016-17. In addition to creating and performing, Andonis is teaching seminars based on his personal dance technique. He has been teaching in the State Dance School of Greece, DAN.C.CE studios and Baile de Barrio in Athens, DOCK11 in Berlin, CND and CNSMD in Lyon, Dansgroep Amsterdam, Henny Jurriens Studio Amsterdam, Kuopio Dance Festival. In 2003, Foniadakis created his own dance company Apotosoma-Andonis Foniadakis, in Lyon, France and since then, he has shown his work in France, Greece, Italy, Finland, Luxembourg, Germany, England, and USA.

Until today, he has presented six full evening works with his own company:

Sensitive Screens Skins Intervals, USE, Rite of Spring, All Things Are Quite Silent, Romeo and Juliet, Priority




  • Choreography: Léonide Massine
  • Music: Manuel de Falla
  • Original editor of the musical masterpiece: Chester Music, London
  • Libretto: María Lejárraga y Gregorio Martínez Sierra
  • Set design, costumes and make up: Pablo Picasso
  • Staging: Lorca Massine
  • Assistant to Lorca Massine: Anna Krzyskow

World premiere by Ballets Rusos Diaghilev at Alhambra Theatre. London, July 22nd 1919
Premiere by Compañía Nacional de Danza at Festival de Música y Danza at Granada, Jardines del Generalife, July 6 2019

Three-Cornered Hat is a ballet with choreography by Léonide Massine and music by Manuel de Falla, based on the novel by the XIX centruy writer Pedro Antonio de Alarcón. It was premiered on July 22nd 1919, at the Alhambra Theatre in Londres with sets and costumes by Pablo Picasso.
Principal roles were danced by Léonide Massine himself as the miller and Tamara Karsávina as miller's wife.

Léonide Massine on his Ballet:
"It so happened that the famous composer, Manuel de Falla, a mild mannered little man who, in his dark suit and felt hat, might easily have passed for a university professor, invited us to go to a small theatre in Barcelona to see a performance of a one act farce by Gregorio Martinez Sierra, El Corregidor å la Molinera, for which he had written the music.
One evening, at our favourite café the Novedades, we noticed a small, dark young dancer whose elegant movements and compelling intensity singled him out from the rest of the group. When he had finished dancing Diaghilev invited him to join us at our table. He introduced himself as Felix Fernandez Garcia. We made a habit of going every night to see him dance, and were more and more impressed by his exquisite flamenco style, the precision and rhythm of his movements, and by his perfect control.

Under Felix’s guidance I had begun to grasp the fundamental grammar of the Spanish folk dances, and I was now able to see how they might be given a more sophisticated choreographic treatment. To help me in my work Diaghilev arranged for us to take a trip through Spain to study the infinite variety of native peasant dances. With Falla and Felix as our tutors, Diaghilev and I were eager and receptive students. During the whole of that hot, dry, Spanish summer we travelled at a leisurely pace, visiting Saragossa, Toledo, Salamanca, Burgos, Seville, Cordoba and Granada. We were a congenial foursome, united by our interest in Spanish culture and music. Our days were spent sightseeing in monasteries, museums and cathedrals, our evenings in cafés watching the local dancers and discussing plans for our ballet.

Felix, of course, was a great asset on this trip.  He was able to arrange several special performances for us, and we spent many late nights listening to selected groups of singers, guitarists and dancers doing the jota, the farruca or the fandango.
It was easy to see that Falla was fascinated by Felix’s dancing, and by much of the music which he heard on our trip. He paid strict attention to detail, and was continually writing down passages of music in the notebook which he habitually carried. He told me that he wanted the dances in the ballet to develop naturally from the story and that he planned to create the whole score anew, enlarging it with new themes, but basing it on his original inspiration, and simplifying it through clear and logical construction."

CND - El Sombrero de Tres Picos - Léonide Massine (rehearsal)


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  • Project Coordination: Maite Villanueva (CND)
  • Texts: CND