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María Álvarez began her training at the Royal Conservatory of Dance in Madrid where she obtained her diploma as well as the 2008 Extraordinary, an end of studies award for her exemplary work. She later trained at the Carmina Ocaña School and attended the School of American Ballet Summer Program in 2009.
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, Nanine Linning’s La Mer, Justin Peck’s Everywhere We Go, John Neumeier’s Third Symphony of Gustav Mahler, Jerome Robbins’s Fancy Free, Glass Pieces, Interplay, and the Concert, and Leonid Yakobson’s Rodin. Her classical repertoire includes Florence Clerc’s La Bayadère, John Cranko’s Romeo and Juliet, Michel Fokine’s Les Sylphides, Ivan Liska’s Le Corsaire, Harald Lander’s Études, Mikko Nissinen’s Swan Lake and The Nutcracker, Rudolf Nureyev’s Don Quixote, Marius Petipa’s The Sleeping Beauty, and Jean Coralli and Jule’s Perrot’s Giselle (adapted by Larissa Ponomarenko) (Peasant Pas).
Álvarez’s experience with character roles highlights Lady Capulet in John Cranko’s Romeo and Juliet, Madge in Bournonville’s La Sylphide, and Carabosse in Petipa’s The Sleeping Beauty.
She was named the “Star of the Corps” by Pointe in 2018.
She joined Boston Ballet II in 2010 and was promoted to artist of the Company in 2012. She was promoted to second soloist in 2019 and soloist in 2022.