Cristina Visus

Cristina Visús qualified in Classical Dance and Spanish Dance from the Real Conservatorio Profesional de Danza in Madrid, where she gained top marks in both disciplines and her main masters were Aurora Pons, Virginia Valero, Victoria Eugenia, Paco Romero, Merche Esmeralda, and Martín Vargas.

In January 1986 she was admitted to the BNE school, under the directorship of Lola de Ávila and in April that year she joined the company, where, from the start, she alternated soloist and first artist roles. She has been at the BNE under the directorship of María de Ávila, José Antonio Ruiz, Aurora Pons, Victoria Eugenia, Nana Lorca, and Aida Gómez. At the same time, she furthered her professional training with masters and mistresses like Carmina Ocaña, Aurora Bosch, Mirta Pla, María Magdalena, and Juan José Linares, among others. Under the directorship of Aurora Pons, Victoria Eugenia, and Nana Lorca she was acting first artist.

While at the company, she has performed lead roles in different choreographies including Mariemma’s Danza y tronío; Seis sonatas para la Reina de España by Ángel Pericet; Alberto Lorca’s Ritmos; El caballo de Don Juan by José Antonio; Bolero; Leyenda; the role of Creusa in Medea, and José Granero’s La gitanilla; Romance by Juan José Linares and Pedro Azorín; and Fantasía Galaica by Antonio Ruiz.

In 2003, she took charge of the Spanish Dance Workshop at the Conservatorio Profesional de Danza de Madrid Carmen Amaya, under the directorship of Alicia de la Corte, working different choreographies by masters and choreographers like Juan José Linares, Victoria Eugenia, Rubén Olmo, Antonio Najarro, among others. She took part in creating variations for different national competitions as well as the choreography Alalá, together with Rocío Espada.

She has been repetiteur at the Ballet Nacional de España since 2011.