Biography

María Álvarez began her training at the Mariemma Royal Conservatory of Dance in Madrid, where she obtained her diploma as well as the 2004 Extraordinary Award, an end-of-studies honor for her exemplary work. She later trained at the Carmina Ocaña Dance School, and in 2009 she attended the School of American Ballet Summer Course.
 
Álvarez’s repertoire includes Karole Armitage’s Rave, Sir Fredrick Ashton’s Cinderella, George Balanchine’s Donizetti Variations, Scherzo à La Russe, Valse Fantasie, Scherzo à La Russe, Symphony in Three Movements, Symphony in C, Coppélia, Serenade, Episodes, Theme and Variations, and Jewels, August Bournonville’s La Sylphide (Madge), Val Caniparoli’s Lady Of The Camellias, Jeffrey Cirio’s fremd,  Florence Clerc’s La Bayadère, John Cranko’s Onegin and Romeo and Juliet, Michel Fokine’s Les Sylphides, Alexander Ekman’s Cacti, William Forsythe’s Artifact 2017 and Pas/Parts 2018, Harald Lander’s Études, Ivan Liška’s Le Corsaire (Birbanta), José Martinez’s Resonance, Léonide Massine’s Gaîté Parisienne, John Neumeier’s Third Symphony of Gustav Mahler, Mikko Nissinen’s The Nutcracker and Swan Lake, Rudolf Nureyev’s Don Quixote (Corps), Marius Petipa’s The Sleeping Beauty (Enchanted Garden Fairy), Helen Pickett’s Eventide, Jerome Robbins’ The Concert (Or, the Perils of Everybody), Leonid Yakobson’s Rodin, Yury Yanowsky’s Smoke and Mirrors, Lila York’s Celts, and Petr Zuska’s D.M.J. 1953-1977.
 
Álvarez has received both the first prize in the Concurso Nacional de Danza Clásica Torrelavega and the second prize in the Concurso Nacional de Danza de Castellón. In 2018, she was named one of Pointe Magazine’s “Stars of the Corps.” After joining Boston Ballet II, she was invited to the Summer Professional Dance program at the Banff Centre for the Arts and Creativity, where she appeared in Balanchine’s Allegro Brillante.
 
Álvarez joined Boston Ballet II in 2010. She was promoted to the main Company in 2012, and to second soloist in 2019.