Atanoss Project

The idea of a combination of two such disparate elements as piano and castanets, arises through the contact established between its members in Conservatory of dance as Spanish dance teacher and piano accompanist respectively. The artistic interest of both forms the core of this proposal, nourished by the music used in dance which is well known by the both. The aesthetic and musical offer, although is born with a strong Spanish character, hopes that it will be able to encompass a greater stylistic scope and go beyond the folkloric aspect that the use of the castanets may imply.

about uSS


He has belonged to some the most prestigious spanish dance companies, such as the Ballet Nacional de España, Teatro de Danza Española de Luisillo, Ballet de Teatro Español de Rafael Aguilar, Sara Lezana, Carmen Cortés, Teatro Lírico Nacional La Zarzuela, and outside Spanish borders, The Nieves Ongay Company in France and Michiko Okamoto in Japan. He has collaborated with Teatro Cervantes in Málaga, as a dancer as well as a choreographer of Operas and Zarzuelas such as: Don Carlo de G. Verdi, Don Pasquale de G. Donizetti, Jenufa by Leos Janacek, Doña Francisquita by A. Vives, El huésped del sevillano by J. Guerrero, and La Calesera by F. Alonso. His dance education, obtained along the time spent in Madrid, in Classical dance, Spanish Dance and Flamenco, with masters as Nadine Boissauvert, Carmina Ocaña, Rosa Naranjo, Aurora Bosch, Ana Baselga, Martin Vargas, Victoria Eugenia, Sara Lezana, Paco Romero, Ciro, etc. as well as his artistic and teaching experience, and his higher Diploma in Music, obtained at the Conservatorio Superior de Málaga, enable him to fully face a project of this nature. Sharpness, clarity and the different shades of instrument playing let us see the technique acquired all through his artistic experience. This project is presented to him as the perfect way where his artistic restlessness can find a better way of expression, in times when dance itself cannot fulfill such a mission, and has to face a new and illusions path.


Carmen leads a style of piano performing capable of playing a most wide repertoire. She studied music at the Conservatorio Superior Oscar Esplá in Alicante (Spain), obtaining the highest marks in music, flute, piano and chamber music. She continued as a grad student at the Universities of Barcelona and Málaga, where she got her PHD in 2012. Her musical education is completed with professors such as: Albert Atenerle, Olga Sirnova, Salid Alk, Aquiles de la Vigne, Leonel Morales, Doru Stephan, José Felipe Díaz, John Salmón, Solomon Mikowksky, Olga Khoziainova, etc. Her sharpness as a pianist can be traced back in the music ensembles she has been a part of, as well of collaborations she has done in stage and audiovisual Works, as an invited pianist at the Dutch National Opera and Ballet as well as the National Ballet Academy in the Netherlands in 2014. Her musical interest have led her to the world of composition, writing, among other Works, the music score for the play ¡Ay Carmela! (Drama School in 2010); the original soundtracks of video creations an short films as: B (award with the prize Noche en Blanco in thel XIIIth Festival de Cine de Málaga), Contratiempo (Finalist in the VIII th Certamen Cortometrajes Andaluces, De recortes (Prize Ciudad de Antequera), etc., she was nominated to the Jerry Goldmish Awards for the film La vida fluye in 2009 and in 2014 she was awarded with the prize Mujer y Cultura for the musical work Los sueños de Orexis o de deseo.

Sonatas con Ñ

Back in the mid-eighteenth century, when Flamenco was not even considered newborn to music, a Naples native man called Domenico Scarlatti and a Catalonian named Antonio Soler got to encode through their music sheets the essence of Andalusian folklore. They were so fascinated by the Spanish repertoire, that we can hear how their pages are filled with references to guitar, castanets and tambourine echoes, as well as melodies associated with Flamenco singing.

The musical work of both composers is so large, some what over 700 sonatas, that selecting some has not become an easy task. We finally decided to hold on a common domestic item: a staircase. Thus, step by step, climbing up every sound in the musical scale: do, re, mi, fa, sol, la, si and do.

These sonatas were not composed to be accompanied or danced. And it si there, when the bold intrusion of castanets enhances every one of them, embellishing melodies and providing counterpoints and polyrhythm, merging this way to end up becoming a part of the composition itself, reaching virtuosistic quotes. Even though the original idea takes its roots from a musical recital, the stage setting has become more of a theatrical thing. Wrapping up music in original pieces of video-art and video dance where sound, music and movement create a synesthetic space where music can not only be heard, but seen, touched, smelled, danced, etc…

"Seven diatonic sounds. Eight sonatas.
Eight different stories"

Atanoss Project | Sonatas con Ñ