Compañía Nacional de Danza

Romero’s appointment has been made after a selection process that has followed the principles of equality, merit and capacity, as well as those of publicity and competition. The 22 projects submitted have been submitted to the evaluation of the Dance Artistic Council, in accordance with the provisions of Royal Decree 497/2010, of April 30, which regulates the participation and advisory bodies of INAEM, and the Statute of the CND.

The artistic and management project presented by Muriel Romero proposes to expand the boundaries of the Company, enriching it with her extensive experience as a performer, creator, manager and educator, aspiring to connect “the world of the great classical companies with that of more independent productions, performance and the living arts; that of the academy with experimentation and the institutional path with the reality of the sector”.

One of the cornerstones of its program is to provide the CND with a unique character through a unique repertoire, which allows it to expand the classic dance icons by working with other arts (such as musical and literary creation), thus making it possible to extol Spain’s cultural heritage while continuing to develop its own personality for this center of creation.

In the next five years, Romero aspires to develop a Company that works with multiple styles and languages, but with excellence as a principle. He proposes to expand the repertoire with previously unrepresented works by established and emerging choreographers and choreographers, prioritizing national creators or those based in our country and artistic languages that so far have not had space in the CND.

It will also recover annually a repertoire work of the twentieth century not represented so far in Spain, always in line with the cast of the Company. The Company’s main objectives also include fostering joint creation between contemporary choreographers and composers, as well as with artists from different disciplines, both national and foreign.

The artistic project includes a wide network of collaborations with other companies, institutions and scenic spaces in order to plan a touring system that allows the artistic quality and versatility of the CND to be taken throughout Spain – paying special attention to current challenges such as access to culture in rural areas – and abroad.

In its defense of a feminist, inclusive and diverse vision for the CND, the project also seeks to strengthen the commitment and vocation for dialogue among the members of the Company, to whom it will offer new opportunities through the annual CND Creators program -focused on dancers with choreographic concerns- and will pay special attention to their professional transition, proposing the creation of specific committees to adequately evaluate this important stage in their careers.

The CND will also continue with programs such as the CND Residencies and the accessibility work that has been carried out in the last few years, focusing on the diversity of audiences and the presence of groups with fewer opportunities for access to artistic practices. In the field of education, collaboration with higher dance conservatories will be fostered and other transversal activities such as workshops, master classes, conferences and pedagogical functions will be promoted.

Muriel Romero (Murcia, 1972) began her studies of Classical Dance, Spanish Dance and Music with Alicia Monteagudo Ros. At the age of 11 she moved to Madrid to enter the National School of Dance directed by Maria de Avila, where she continued her training with the teacher Lola de Avila. At the same time, she studied classical dance in the free examination category, obtaining honors in all her courses. At the age of 14 she won the 1st National Prize of Classical Dance in the competition Ciudad de Barcelona and at the age of 15 she obtained the Prix du Paris in the prestigious international competition Prix de Lausanne. At the age of 16 she joined the cast of the National Dance Company under the direction of Maya Plisétskaya, where she had the opportunity to dance a wide repertoire of classical ballet performing leading roles in works such as Paquita by Marius Petipa, Les Sylphides by Michel Fokine and The Four Temperaments by George Balanchine. In the same year, she entered the renowned International Ballet Competition in Moscow, winning three awards: Mikhail Baryshnikov Prize, Critics’ Prize and the Audience Award. It is as a result of this competition that she makes her international breakthrough as the first soloist of the Bayerische Staatsoper first soloist of the Bayerische Staatsballett in Munich.

In 1993 she performed at the Nationaltheater in Mannheim, at the Gala of Stars at the Mariinski Theater in St. Pertersburg and consolidated her classical dance career as prima ballerina at the Deutsche Oper Berlin. In 1995 she returned to the National Dance Company under the direction of Nacho Duato, where she worked with the most contemporary choreographers of the 20th century, such as Jiri Kylián, Ohad Naharin and William Forsythe.

In 2000 she began her career as a freelance artist to explore new formats, collaborating on projects with avant-garde choreographers and playwrights such as La Ribot, Sasha Waltz, Cisco Aznar, Mateo Feijóo and Unterwegs Theater. She will finally complete her career as a soloist with the company Grand Théâtre de Genève and later, from 2006 to 2008, as first soloist at the Semperoper Ballett in Dresden, under the direction of the Canadian Aaron Watkin, where she deepens her artistic relationship with the choreographer William Forsythe.

In 2008 he founded the Stocos Institute in Madrid, together with composer Pablo Palacio, a transdisciplinary project that combines dance, music, mathematics, experimental psychology and artificial intelligence. In his stage creations he has developed an original vision from the body,
as a place from which sound, image and light emanate interactively. Many of his works have been performed in festivals in Europe, America, Africa and Asia.

In addition, he has participated and promoted successful and prestigious European projects in the field of dance, together with other institutions such as the Polytechnic of Milan, the University of Genoa (Casa Paganini), the Conventry University or the Motion Bank, the dance and technology project of the Forsythe Company. In the context of these projects he has developed new techniques and technologies oriented both to the creation and teaching of dance, as well as to the preservation of the European choreographic heritage through new technologies.

In 2021, she was awarded a scholarship in the Performing Arts at the Royal Academy of Spain in Rome, where she developed a research on the relationship between visual arts, dance, interactive music and artificial intelligence, which is reflected in the choreographic work Risonance Occulte with music by Pablo Palazzo, distributed in different stage and film formats, at the Galleria Nacionale d’Arte Moderna and at the Tempietto di Bramante in the city of Rome.
music by Pablo Palacio, distributed in different scenic and filmic formats, at the Galleria Nacionale d’Arte Moderna and at the Tempietto di Bramante in Rome.

In 2022, he presents a new production with the Stocos Institute of the work Embodied Machine, with premiere at the Mercat de les Flors (Barcelona). In recent years he has worked on a new international project of the Horizont Europe program.