Compañía Nacional de Danza

Daan Vervoort is a dancer of Belgian origin who, after dancing in different countries, ended up in Spain in 2006 to join the junior version of the CND, the CND2, under the direction of Nacho Duato. He later joined the Compañía Nacional de Danza and, in 2013, was promoted to soloist category. In 2016, he danced in Johan Inger’s Carmen, with Emilia Gisladottir, in Moscow’s Bolshoi Theatre and for which Inger, the choreographer, won the prestigious Benois de la Danse award. Daan has also danced Nacho Duato’s Kol Nidre y Gnawa, William Forsythe’s Herman Schmerman, Ohad Naharin’s Minus 16 and Mats Ek’s Casi-Casa, among other choreographies.

Cuban dancer Yanier Gómez started his studies at the Alejo Carpentier Escuela Elemental de Ballet. He entered international contests in Havana, achieving Gold and Grand Prix for best partner at 17. In 2008, he joined the dance team at Ballet Nacional Cuba under the artistic direction of Alicia Alonso. He entered various Havana International Festivals, as well taking part in galas with stars from the American Ballet Theatre. In September 2016, he joined the Compañía Nacional de Danza as soloist.

Seville-born Álvaro Madrigal is a versatile dancer. He cannot be pigeonholed as a classical dancer or as a contemporary dancer but rather is able to enjoy the full repertoire of the Compañía Nacional de Danza (CND). Álvaro respects classical dance so much that he could easily be considered a classical dancer. But the same could be said regarding contemporary dance also. He himself prefers to be defined as an emotional dancer; somebody who needs to feel something when dancing.

In Paradisum, Antonio Ruz’s latest creation for the Compañía Nacional de Danza (Spain) is inspired by the Spanish painter El Greco’s colour palette for the costume design, lighting design and also on the dancer’s movements and figures. The composition’s verticality and height, along with the dark and ocre colour tones with strokes of red, white, blue and green are reflected in the choreography. Moreover, the piece also recalls other painters, mainly being from the Renaissance and Baroque period. We can appreciate Caravaggio’s characteristic chiaroscuro technique; the dynamic lines of the body’s posture, often resembling the descent of the cross in Raffaelo’s and Caracciolo’s works; the perspective Christ of Saint John of the Cross by Dalí, or even Bouguereau’s Nymphs and Satyr mythological creatures’ fluid movements. Next, a series of examples of paintings beside In Paradisum’s photographies by Alba Muriel.