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 principal and soloist roles in Paulo Arrais’ ELA, Rhapsody in Blue, George Balanchine’s Piano Concerto no.2, Agon, Serenade, Stravinsky Violin Concerto, Coppélia, Chaconne, and Valse Fantasy, August Bournonville’s Napoli and La Sylphide, Alexander Ekman´s Cacti, William Forsythe’s In the Middle Somewhat Elevated, Artifact 2017, Blake Works I, Pas/Parts 2018, Playlist (EP), and The Second Detail, John Neumeier’s Third Symphony of Gustav Mahler, Jerome Robbins’ Fancy Free, Glass Pieces, Interplay, and The Concert, and Leonid Yakobson’s Rodin. Her other classical repertoire includes soloist and corps de ballet roles in Sir Fredrick Ashton’s Cinderella, Florence Clerq’s La Bayadere, Jean Coralli and Jules Perrot’s (adapted by Larissa Ponomarenko) Giselle (Peasant Pas), John Cranko’s Romeo and Juliet, Harald Lander’s Etudes, Ivan Liska’s Le Corsaire, Mikhail Fokine’s Les Sylphides, Mikko Nissinen’s Swan Lake and The Nutcracker, Rudolf Nureyev’s Don Quixote, and Marius Petipa’s The Sleeping Beauty.

In 2018, she was named one of Pointe’s “Stars of the Corps.”

Álvarez joined Boston Ballet II in 2010. She joined Boston Ballet as an artist of the Company in 2012. She was promoted to second soloist in 2019 and to soloist in 2022.

Position funded by Alison and Christopher Viehbacher