Dores Andre (© Chris Hardy)
Joined in 2004. Promoted to soloist in 2012.
Promoted to principal dancer in 2015.
Born in Vigo, Spain, Dores André trained with Antonio Almenara and at Estudio de Danza de Maria Avila. She joined the Company in 2004 and was promoted to soloist in 2012. She became a principal dancer in 2015.
André has danced principal or featured roles in Tomasson’s Giselle (pas de cinq, Myrtha, and solo Wili), Nutcracker (Grand Pas de Deux Ballerina, Sugar Plum Fairy, and Queen of the Snow), Romeo & Juliet (Juliet), The Sleeping Beauty (Fairy and White Cat), Swan Lake, 7 for Eight (principal), Criss-Cross (principal), and The Fifth Season (principal); Tomasson/Possokhov’s Don Quixote (Mercedes); Cranko’s Onegin (Olga); Neumeier’s The Little Mermaid; Wheeldon’s Cinderella (Stepsister Clementine and Spirit of Spring/Lightness), Carousel (A Dance) (principal), Ghosts (soloist), and Within the Golden Hour (principal); Balanchine’s Agon (1st pas de trois), Brahms-Schoenberg Quartet (1st movement soloist and 3rd movement principal), Divertimento No. 15, “Emeralds,” The Four Temperaments, Scotch Symphony, and Serenade (Dark Angel); Caniparoli’s Ibsen’s House and Lambarena; Fokine’s Petrouchka (Ballerina); Forsythe’s The Vertiginous Thrill of Exactitude; Kobborg’s Les Lutins; Lifar’s Suite en Blanc; Makarova’s (after Petipa) “The Kingdom of the Shades” from La Bayadère, Act II (solo Shade); Nureyev’s Raymonda—Act III; Page’s Guide to Strange Places (principal); Possokhov’s Classical Symphony (principal), Firebird (Princess), The Rite of Spring (principal), and Swimmer (principal); Ratmansky’s Shostakovich Trilogy (Symphony #9 and Chamber Symphony); Robbins’ Dances at a Gathering (Blue), Glass Pieces (soloist), In the Night (1st pas de deux), and West Side Story Suite (Maria); Scarlett’s Hummingbird (principal); and Wheeldon’s Within the Golden Hour (principal). She created a role in Jenkins’ Thread and a principal role in Thatcher’s Manifesto.
André’s repertory also includes Tomasson’s “Haffner” Symphony, Meistens Mozart, Prism, and Trio; Balanchine’s “Diamonds,” “Rubies,” Stars and Stripes (Finale), Stravinsky Violin Concerto, Symphony in C, Symphony in Three Movements, Theme and Variations, and Who Cares?; Bintley’s The Dance House; Elo’s Double Evil; Forsythe’s Artifact Suite; Kudelka’s The Ruins Proclaim The Building Was Beautiful; Liang’s Symphonic Dances; McGregor’s Borderlands; de Mille’s Rodeo; Morris’ Drink to Me Only With Thine Eyes, Maelstrom, and Sandpaper Ballet; Possokhov’s Diving into the Lilacs, Francesca da Rimini, and Magrittomania; Ratmansky’s Le Carnaval des Animaux and From Foreign Lands; Robbins’ The Concert and Opus 19/The Dreamer; Taylor’s Company B; Thatcher’s In the Passerine’s Clutch; Wheeldon’s Continuum, Number Nine, Quaternary, and Rush; and Zanella’s Underskin.
She danced in the 2015 film of Tomasson’s Romeo & Juliet (Harlots) as part of the inaugural season of Lincoln Center at the Movies: Great American Dance. She was awarded first place at the Cuidad de Torrelavega competition in 1996.