Anette Delgado González

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She began her studies in 1988 at the Provincial Ballet School «Alejo Carpentier» in Havana and continued them at the National Ballet School, with professors Ramona de Saá, Alina Díaz, Margarita Naranjo and Martha Iris Fernández.

During her time as a student, she earned important awards in competitive events, including Gold Medal and Best Couple Prize at the First International Ballet Academy Competition, Silver Medal at the Competition of the Union of Writers and Artists of Cuba (1995), Gold Medal and Special Prize for Best Technique and Artistic Work of Style at the Second International Ballet Academy Competition (1996) and the Silver Medal and Best Couple Prize at the XVII International Ballet Competition in Varna, Bulgaria (2000). As a student, she participated in cultural exchanges in several cities in Mexico and Italy.

Since her graduation in 1996, she became part of the cast of the National Ballet of Cuba, under the technical and artistic direction of Alicia Alonso, a company with which she has performed in numerous countries in America, Europe, Asia, as well as in Egypt and Australia. Between 1999 and 2001 she was part of the ranks of the Young Ballet of France.

She was promoted to the rank of Prima Ballerina in 2005. She has been a guest artist in galas in Uruguay (2004), Spain (2006 and 2008), the Rome Opera and in London (2007), at the Royal Danish Ballet and Mexico City (2008), Saint Petersburg, Russian Federation (2009 and 2011) and at the theaters of La Maestranza in Seville and the Gran Teatro de Huelva, both in Spain (2010)

She performs leading roles in works of the great romantic-classical tradition and in contemporary creations by Cuban and foreign choreographers.

Critical Opinion.
«Among the youngest, Anette Delgado's Giselle stands out, a dancer of precious line and capacity to transmit emotion»
Julia Martin. El Mundo. Spain, 2002

«In the pas de deux of Sleeping Beauty we appreciated a magnificent Anette Delgado who impressed in her variation.»
Julio Bravo. ABC. Spain, 2002

«A brilliant pas de deux showed us Anette Delgado [...] with impeccable rhythm and amazing jumps.»

Eliza Ingle. Post-Courier Reviewer. United States, 2003
In The Magic of Dance: «Anette Delgado, full of technical strength and interpretive freshness».
Luciene de Oliveira. Lucky assesorie de Prensa. Sao Paulo, Brazil, 2006

In Don Quixote: «…as Queen of the Dryads, Anette Delgado burns with an unshakeable and constant flame. Her technique is formidable».
Luke Jennings. The Observer. England, 2006

«It was Anette Delgado who embodied this time the role of the peasant-willi, with a successful performance in which she made the spectators accomplices to the fragility of a sick girl and tenderly in love during the first act, and the supernatural charisma of the lifeless specter in the second. All of this accompanied by the care and cleanliness of the steps, and even the technical virtuosity in the phrases that required it»
Laura Domingo Agüero. Culture-Actualité. France, 2007

«Giselle has been in the repertoire of exceptional dancers throughout history, such as its first performer, Carlota Grissi, Fanny Elssler, Ana Pavlowa and Alonso herself. Anette Delgado inscribed her name today with signs of admiration»
Fausto Triana. Prensa Latina. France, 2007

«The prima ballerina Anette Delgado amazed the audience with the perfection and strength of her interpretation, showing a Giselle in the first act cheerful and graceful and in the second ethereal, poetic and ghostly».
TeleSUR. France, 2007

«And the prima ballerina Anette Delgado dazzled with her technical perfection and her interpretive strength, composing a Giselle that transforms herself completely between the first and second act, cheerful, graceful and passionate in the first, ethereal and poetic in the ghostly appearance of the second».
AFP. France, 2007

«…Anette (Delgado), because she has made cleanliness, serenity and lyricism her main calling cards [in Giselle].»
Yuris Nórido. Periódico Trabajadores. Cuba, 2009

«Anette Delgado as Giselle is a delight: sweet but not cloying, fragile but not weak, simple but elevated, naive but not simplistic. In the first act, the dancer gives a great version of the young peasant girl, standing out for her interpretive coherence, but without neglecting the technical challenges that the role presents.»
María Luisa Martín-Horga. Diario Montañez. Santander, Spain, 2009

In Giselle: «With her beautiful presence-line, the poetic sense that dominated all her movements, the softness and the effect of lightness itself, she embroidered the character that achieved its maximum expression in a second act to remember; although the entire performance was a fertile field where she demonstrated her mastery, and above all, the real maturity of a character that she has made her own, with effort and perseverance.»
Toni Piñera. Granma. Havana, Cuba, 2011

«in the second act of Giselle she seemed to plead for her life. Everything was very beautiful, almost a miracle [...] The integrity of her interpretation, her evocation of the romantic constitutes a masterclass by itself.»
Erick Tauk. Revista Ballet Magazine. United States, 2011

In Don Quixote: «In the role of Kitri, Anette Delgado is constantly demanding. The fresh and coquettish Delgado continued executing brilliant turns and jumps in dazzling succession.»
Karen Weinstein. Los Angeles Times on-line. United States, 2011