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  • A Coruña
  • A Coruña
  • Madrid
  • Madrid
    • A CORUÑA
    • PALACIO DE LA ÓPERA
    • 22 & 23 November, 2019 - 20:30h
    • Symphonic Orchestra of Galicia
    • Director: Manuel Coves
    • CARMEN /  Johan Inger
    • TICKETS
    • Picture: Jong Duk Woo
    • A CORUÑA
    • PALACIO DE LA ÓPERA
    • 22 & 23 November, 2019 - 20:30h
    • Symphonic Orchestra of Galicia
    • Director: Manuel Coves
    • CARMEN /  Johan Inger
    • TICKETS
    • Picture: Jong Duk Woo
    • MADRID
    • TEATRO DE LA ZARZUELA
    • 10 to 22 December, 2019
    • The Teatro de la Zarzuela Orchestra. ORCAM
    • Director: Manuel Coves
    • NUTCRACKER / José Carlos Martínez
    • TICKETS
    • Picture: Carlos Quezada
    • MADRID
    • TEATRO DE LA ZARZUELA
    • 10 to 22 December, 2019
    • The Teatro de la Zarzuela Orchestra. ORCAM
    • Director: Manuel Coves
    • NUTCRACKER / José Carlos Martínez
    • TICKETS
    • Picture: Jesús Vallinas
  • A Coruña
    • A CORUÑA

    • PALACIO DE LA ÓPERA

    • 22 and 23 November, 2019

    • CARMEN /  Johan Inger

    • TICKETS

    • Picture: Carlos Quezada
  • A Coruña
    • A CORUÑA

    • PALACIO DE LA ÓPERA

    • 22 and 23  November, 2019

    • CARMEN /  Johan Inger

    • TICKETS

    • Picture: Carlos Quezada
  • Madrid
    • MADRID

    • TEATRO DE LA ZARZUELA

    • 10 to 22 December, 2019

    • The Teatro de la Zarzuela Orchestra. ORCAM

    • Director: Manuel Coves

    • NUTCRACKER / José Carlos Martínez

    • TICKETS
    • Picture: Carlos Quezada
  • Madrid
    • MADRID

    • TEATRO DE LA ZARZUELA

    • 10 to 22 December, 2019

    • The Teatro de la Zarzuela Orchestra. ORCAM

    • Director: Manuel Coves

    • NUTCRACKER / José Carlos Martínez

    • TICKETS
    • Picture: Carlos Quezada

Stéphane Phavorin Biography

GUEST BALLET MASTER

Stéphane Phavorin started his classical dance studies at the same time as his musical notation and piano studies, entering the ballet school of the Ballet de l’Opéra de París at the age of 14. He studied with teachers such as Daniel Franck, Gilbert Mayer and Serge  Golovine, as well as Jacqueline Fynnaert.

Once he finished both fields of study (piano and dance), he went on to form part of the Ballet de l’Opéra de París, under Rudolf Nureyev as director. He rose to become Principle Dancer.

With the Ballet de l’Opéra de París he performed some of the great roles within the classical repertoire: Baron von Rothbart in Swan Lake; the Prince in  The Nutcracker; Espada in Don Quixote, Bernard and Beranger in Raymonda (all those as Nureyev choreographies), as well as James in La Sylphide by Pierre Lacotte. He interpreted a series of roles in neoclassical-style choreographies by Jérôme Robbins, Paul Taulor, Mac Millan, Roland Petit and Serge Lifar. He would also come to work with contemporary-style choreographers, such as Twyla Tharp, William Forsythe, Pina Baush, Mats Ek, Jirí Kylián, Wayne Macgregor, Angelin Preljocaj, Nacho Duato, Richard Tanner, Lar Lubovitch  and Mark Morris.

He won the Silver Medal both in the Paris International Dance Contest and in the Maya Plissétskaia St. Pertersburg  International Contest. For some years he formed part of the Legris Loudieres et leurs Etoiles dance group, directed by Manuel Legris.

On finalising his career as dance interpreter, he immersed himself in the world of teaching, working with both professionals and amateurs alike, as well as with dance schools and giving master classes.

Since 2013, and in addition to his work as Ballet Master at Spain’s Compañía Nacional de Danza (CND) and at l’Opera di Roma, he has  also been working as guest teacher at companies, such as the Ballet de l’Opéra de París itself, The Royal Ballet of the Covent Garden Royal Opera House, the HET National Ballet of Amsterdam, the Vienna Opera Ballet, Stuttgart Ballet and Ballet Teatro alla Scala in Milan, among others.

Sofía Coppola entrusted him with the choreography of her 2015 production of La Traviata for the Teatro dell’Opera di Roma.

Recently, William Forsythe commissioned him with the restaging of his piece The Vertiginous Thrill of Exactitude for soloists of the Ballet de l’Opéra de París, as well as for the Conservatoire Supérieur de Danse de Paris.

 

CND Artistic Staff

Joaquín De Luz Portrait

JOAQUÍN DE LUZ

Artistic Director

Pino Alosa Portrait

PINO ALOSA 

Associate Artistic Director

Isaac Montllor Portrait

ISAAC MONTLLOR

Artistic Coordinator

Carina Martín Protrait

CARINA MARTÍN

Artistic Coordinator and Educational Project

Joan Boada Portrait

JOAN BOADA

Guest Ballet Master

Stéphane Phavorin Portrait

STÉPHANE PHAVORIN

Guest Ballet Master

Emilia Jovanovic Portrait

EMA JOVANOVICH

Choreographic Assistant

Yoko Taira Portrait

YOKO TAIRA

Master Ballet

Cati Arteaga Portrait

CATI ARTEAGA

Master Ballet

Carina Martín Biography

ARTISTIC COORDINATOR AND EDUCATIONAL PROJECT

Carina Martín

She was born in France in 1977 and began her training in classical dance at the Reina Sofía Professional Dance Conservatory in Granada.

In 1999, she obtained a teaching diploma in Special Education from the University of Granada’s Educational Sciences Faculty.

In 2000, she joined the Post-Graduate Contemporary Dance Workshops at Seville’s Centro Andaluz de Danza (Andalusian Dance Centre), where she broadened her training with such teachers as Pilar Pérez Calvete, Ramón Oller, Michèle Swennen, Jennifer de Palo, Mirjam Berns, Risa Steimber, Carolyn Carlson, Peter Goss and Win Vandekeybus, among others. There, she danced choreographies by Ramón Oller, Pilar Pérez Calvete, Natalie Pubelier, María Rovira, Mercedes Boronat and Leo Santos.

Since 2004, she has been an Official of the Music and Stage Arts Teachers’ Corps, at the Reina Sofía dance conservatory, specialising in contemporary dance. In 2005 she coordinated the implantation of that speciality across Andalusia. For the academic years 2011-2014 she was Vice Director of the Reina Sofia dance conservatory.

In parallel, in 2009, she started the LITIUMLAB research project together with teachers from the Conservatorio Superior de Música de Granada, members of the Colectivo Miga (Miga Collective) and teachers from Granada’s University of Bellas Artes. As a dancer, she took part of the Les Derniers Jour du Monde film production, with choreographer Roberto Oliván.

In 2015, she did her Masters in the Management and Direction of Educational Centres with the internet university UNIR.

She obtained her Doctorate in Inclusive Dance at the University of Granada in 2017, earning an international mention for her thesis.

Since September 2018, she has coordinated the CND’s Educational Project.

Pino Alosa Biography

ASSOCIATE ARTISTIC DIRECTOR

Pino Alosa portraitPino 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 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 Kilyán, 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" 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 deux.

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 Sherezade.

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 previous 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.

Joan Boada Biography

GUEST BALLET MASTER

Joan Boada portraitJoan Boada received his impeccable training and foundation of classical repertory from the prestigious, Escuela Nacional de Ballet in Cuba. After graduation, he moved to Paris to train with Gilbert Mayer, Jacques Namont, and Manuel Legris. Engaged as a guest artist with Ballet de Nancy, he got the opportunity to perform Spectre de la rose and Le Prince Igor, under the watchful eye of Pierre Lacotte. Roland Petite, of Ballet de Marseille, created a piece for Mr. Boada and prima ballerina, Altynai Asylmuratova.

Joan Boada competed in the highest ballet competitions, Varna, Paris, Osaka, and Shanghai, receiving medals and prizes of distinction. He was invited to perform as a guest artist with Victor Ullate, dancing Basilio, and also with Ballet de Manila, The Australian Ballet, Royal Ballet of Flanders, and Ballet de Bordeaux, where he received the Prix Lifar for his performance in Icare

After guesting with The San Francisco Ballet, Mr. Boada joined the company as a principal artist in 1999, dancing coveted roles in full length classics ballets such as Giselle, Romeo and Juliet, The Sleeping Beauty, La Bayadere, Eguene Oneguin, and Cinderella. His award winning interpretation of Basilio in Don Quixote will forever be remembered in San Francisco and around the world. During Mr. Boada’s long performing career, he caught the eye of some of the most celebrated choreographers, such as William Forsythe, Mark Morris, Yuri Passokov, Aleksei Ratmansky, Liam Scarlett, and Christopher Wheeldon, to name a few.

Over the years, Mr. Boada transformed into a unique and versatile dancer; excelling in classical, dramatic, and neo-classical roles, created by Balanchine, Robbins, and Ashton. He garnered international fame for his precise classical technique and dramatic capabilities. His fellow dancers admired him for his musicality and innate sense of rhythm. One of the highlights of his career was working with Irina Jacobson, dancing, Vestris, in which he recently restaged for The Boston Ballet. Not many dancers have reached the level of artistry that Joan Boada possesses. He is a great talent and one of the most celebrated dancers of his generation.

His recognition and skill in the male technique as well as his partnering proficiency are second to none Mr. Boada passes his unique experience and vast understanding of the art form on to other dancers and students, so they too may share their gifts with their audience.

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Tickets

    • Carmen. Johan Inger

    • A CORUÑA (SPAIN)

    • PALACIO DE LA ÓPERA
    • 22 & 23 November, 2019
    • Buy your tickets to see the CND in the Palacio de la Ópera
    • Don Quixote by José Carlos Martínez

    • MADRID (SPAIN)

    • TEATRO DE LA ZARZUELA
    • 10 to 22 December, 2019
    • External link to buy your tickets to see Carmen by the CND
    • The Nutcracker. José Carlos Martínez

    • SEVILLA (SPAIN)

    • TEATRO DE LA MAESTRANZA
    • 9 to 12 January, 2020 - 20h
    • External link to buy your tickets to see the CND
    • Abstract image

    • MADRID (SPAIN)

    • AUDITORIO NACIONAL DE MÚSICA
    • 8 March, 2020
    • External link to buy your tickets to see the CND in Madrid
    • Carmen Johan Inger. Picture: Jong-Duk Woo

    • VALENCIA (SPAIN)

    • PALAU DE LES ARTS
    • 26 to 29 March, 2020
    • External link to buy your tickets to see the CND in the Palau de les Arts
    • Carmen by Johan Inger

    • PERPIGNAN (FRANCE)

    • THÉÂTRE DE L'ARCHIPEL
    • 6 & 7 May, 2020
    • External link to buy your tickets to see the CND in Théâtre de l'Archipel
      • Por Vos Muero. Nacho Duato

      • LUDWIGSBURG (GERMANY)

      • FORUM AM SCHLOSSPARK LUDWIGSBURG
      • 17 & 18 July, 2020

Auditions

  • Auditions. Jardín Infinito. Nacho Duato

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Credits

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