- Vigo, Spain
- Antonio Almenara
Estudio de Danza de Maria Avila
- Company Membership
Joined in 2004
Promoted to soloist in 2012
Promoted to principal dancer in 2015
Dores André created roles in Forsythe’s Pas/Parts 2016, Jenkins’ Thread, Lopez Ochoa’s Guernica, Peck’s Hurry Up, We’re Dreaming and In the Countenance of Kings, Pita’s Björk Ballet, Scarlett’s Fearful Symmetries, Thatcher’s Manifesto, and Wheeldon’s Bound To. Among her major credits are Tomasson’s Giselle (Myrtha), Nutcracker (Sugar Plum Fairy and Grand Pas de Deux Ballerina), and Romeo & Juliet (Juliet); Tomasson/Possokhov’s Don Quixote (Mercedes); in Balanchine’s Coppélia (Swanilda); Cranko’s Onegin (Olga); Scarlett’s Frankenstein (Elizabeth Lavenza); and Wheeldon’s Cinderella (Cinderella and Stepsister Clementine).
Dores has danced featured or principal roles in Tomasson’s 7 for Eight, Criss-Cross, The Fifth Season, Haffner Symphony, The Sleeping Beauty (Bluebird pas), Swan Lake, and Trio; Balanchine’s Agon, Brahms-Schoenberg Quartet, Divertimento No. 15, Emeralds, and Serenade; Bubeníček’s Fragile Vessels; Caniparoli’s Ibsen’s House and Lambarena; Fokine’s Petrouchka; Forsythe’s The Vertiginous Thrill of Exactitude; Neumeier’s The Little Mermaid; Kobborg’s Les Lutins; Lifar’s Suite en Blanc; Makarova’s (after Petipa) “The Kingdom of the Shades” from La Bayadère, Act II; Nureyev’s Raymonda—Act III; Page’s Guide to Strange Places; Peck’s Rodeo: Four Dance Episodes; Pita’s Salome; Possokhov’s Classical Symphony, Firebird, Fusion, Magrittomania, The Rite of Spring, and Swimmer; Ratmansky’s Shostakovich Trilogy; Robbins’ Dances at a Gathering, Glass Pieces, In the Night, Opus 19/The Dreamer, and West Side Story Suite; Scarlett’s Hummingbird; and Wheeldon’s Carousel (A Dance), Rush, and Within the Golden Hour.
Dores danced at the Volver Gala in Zaragoza, Spain, in May 2018. She performed in the 2015 film of Tomasson’s Romeo & Juliet (Lincoln Center at the Movies: Great American Dance.)
What ballet or role would you like to dance but haven't yet? Why?
Giselle is, to me, the first modern ballet.It was no longer about men, power, and important people. Modern ballet was about women, dreams and the imagination.The character of Giselle is complex, romantic, idealistic, strong, and courageous. She’s the type of woman one hopes to become.
What's your favorite costume? Why?
Cinderella's ball gown because it reminds me of Italian designer Valentino. It’s beautiful and the mask is made of glitter. It’s hard to be upset when glitter is involved!
If I weren't a dancer I'd be...
I wanted to be an architect as a kid. Back then I designed a tomato home that would rotate with the change of the season.