Kristýna Němečková

Biography

Born in Berlin, Kristýna Němečková first trained at the Prague Dance Conservatory and then at the State Ballet School in Berlin, where at sixteen she already danced the title role in Giselle on the Staatsoper stage. In 2008 she joined the Czech National Ballet; three years later she was promoted to demi-soloist and in 2018 to soloist.

Her early Prague seasons showcased her versatility in Balanchine’s Theme and Variations, Robbins’ Fancy Free and contemporary works by Petr Zuska, Jiří Kylián and Christopher Bruce. A career-defining moment came in 2015 when Jacopo Godani created a virtuosic solo for her in Reflections on the Fate of Human Forms. The performance earned her the 2015 Thalia Award and the Opera Plus Prize, and brought an invitation to join The Forsythe Company (later Dresden Frankfurt Dance Company). Under Godani’s direction she originated roles in full-length creations (The Primate Trilogy, Metamorphers, Extinction of a Minor Species), danced William Forsythe’s One Flat Thing, Reproduced and Rafael Bonachela’s Lux Tenebris, and taught company workshops in the Godani style.

Returning to Prague in the 2017/18 season, Němečková quickly reclaimed the spotlight: she sliced through space in Forsythe’s In the Middle, Somewhat Elevated, electrified audiences as the Newspaper Girl in Bigonzetti’s Kafka: The Trial, and turned Rosetta in Christian Spuck’s Leonce & Lena into a whirlwind of cabaret mischief. Her classical appearances are equally memorable, from a sparkling Columbine in The Nutcracker – A Christmas Carol to an eerily magnetic Madge in La Sylphide.

She has represented the Czech National Ballet at gala evenings worldwide (Korea, Costa Rica, Cuba, Spain, Karlsruhe), collaborates with 420PEOPLE and DekkaDancers, and teaches master classes that emphasise musical timing, spatial awareness and liberated movement. For Němečková, the stage remains a playground where discipline meets boundless imagination – and where she invites the audience to share the sheer joy of dance before the last chord fades.

Classical Repertoire

• Coppélia – Innkeeper, Swanilda’s Friend (Ronald Hynd)

• La Sylphide – Madge, James’s Mother (Johan Kobborg)

• Romeo and Juliet – Gypsy (John Cranko)

• The Nutcracker – A Christmas Story – Christmas Fairy, Mrs. Cratchit, Arabian Dance, Oriental Dance, Waltz – Solo (Youri Vámos)

• Swan Lake – Pas de trois, Russian Dance (Kenneth Greve)

• The Sleeping Beauty – Fairy of Eloquence, White Cat, Prince’s Fiancée (Márcia Haydée)

Contemporary and Neoclassical Repertoire

• bpm – Artza (Eyal Dadon), Bill (Sharon Eyal)

• Beyond Vibrations – Moving Rooms (Krzysztof Pastor), Frank Bridge Variations (Hans van Manen)

• Cinderella – Evil Sister (Jean-Christophe Maillot)

• Decadance (Ohad Naharin)

• Forsythe / Clug / McGregor – The Second Detail (William Forsythe), Handman (Edward Clug), EDEN | EDEN (Wayne McGregor)

• In the Middle, Somewhat Elevated (William Forsythe)

• Kafka: The Trial – Newspaper Girl (Mauro Bigonzetti)

• Kylián – Bridges of Time – Psalm Symphony, Bella Figura, Six Dances, Gods and Dogs (Jiří Kylián)

• Leonce & Lena – Rosetta (Christian Spuck)

• L’Histoire de Manon – Madam (Kenneth MacMillan)

• The Little Mermaid – Little Mermaid (Jan Kodet)

• Phoenix – Puppet (Douglas Lee), Dos Soles Solos (Alejandro Cerrudo), Prelude und Liebestod (Cayetano Soto)

• Reflections on the Fate of Human Forms (Jacopo Godani)

• Sarcasms – ...And How Is Your Life? – Animosity (Andrej Kajdanovskij)

• Timeless – Serenade (George Balanchine), Separate Knots (Emanuel Gat), The Rite of Spring (Glen Tetley)