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Kristýna Němečková

Kristýna Němečková

Soloist of The Czech National Ballet


A gifted dancer possessing great vivacity and specific energy, Kristýna Němečková has enthralled audiences in a variety of roles. She has primarily excelled in contemporary choreographies, bringing to bear her exceptional technical dexterity and singular expression. The performance of the solo part in Jacopo Godani’s Reflections on the Fate of Human Forms earned her the coveted Thalia Prize (2015) and the Opera Plus Prize. Since 2018, she has been a soloist of the Czech National Ballet.
Born in Berlin, Kristýna studied at the Prague Dance Conservatory and the Staatliche Ballettschule in Berlin, where at the age of 16 she portrayed the title role in Giselle within a graduation performance. While still a student, she came third in a school dance competition.  
In 2008 she was engaged at the Czech National Ballet, where three years later she was appointed a demi-soloist.
In 2015 she joined The Forsythe Company (later the Dresden Frankfurt Dance Company), headed by Jacopo Godani, where she appeared in Godani pieces (The Primate Trilogy, Metamorphers, C.O.R.E., Moto perpetuo, Echoes from a Restless Soul, Extinction of a Minor Species, etc.) and works by William Forsythe (One Flat Thing, Reproduced, etc.) and Rafael Bonachela (Lux Tenebris). During her time in Dresden, she led dance workshops, including lessons focused on Godani’s style.
In the 2017/18 season, Kristýna rejoined the Czech National Ballet and has performed at numerous gala shows worldwide (Korea, Costa Rica, Cuba, Spain and Germany, including a prestigious ballet evening in Karlsruhe).
Kristýna has garnered a number of accolades. In 2016 she received the annual Opera Plus Prize; in 2018 she became one of the winners of the Dance on Fire competition in Dresden, and was selected to perform within the Bubeníček brothers’ international project My Country. During her career, she has also been invited to work with the world-renowned choreographer and dancer Michael Schumacher.
Currently Kristýna is also engaged in teaching activities.
A superlative performer of the modern and neoclassical repertoire, Kristýna has dazzled as the Newspaper Girl in Bigonzetti’s Kafka: The Trial, as Rosetta and the Master of Ceremonies in Spuck’s Leonce & Lena; as one of the leads in Dadon’s ARTZA; and as the solo girl in Eyal’s Bill. She has also appeared to acclaim in Kylián’s Symphony of Psalms, Bella Figura, Six Dances and Gods and Dogs; in Kozielska’s Aspects; in Gat’s Separate Knots; in Tetley’s Le Sacre du printemps; in Lee’s Puppet; in Cerrudo’s Dos soles solos; in Soto’s Prelude und Liebestod; in Forsythe’s The Second Detail and In the Middle, Somewhat Elevated; in Clug’s Handman; in McGregor’s EDEN | EDEN; in Balanchine’s Serenade; in Godani’s Reflections on the Fate of Human Forms; in Naharin’s Decadance; in Zuska’s Stabat mater and Le Sacre du printemps; and in Kodet’s The Sorcerer’s Apprentice (Dorotka) and The Little Mermaid (the title role).
Kristýna has also displayed her qualities in classical repertoire pieces. Noteworthy is her portrayal of the witch Madge in Kobborg’s La Sylphide or her role of the Fairy of Eloquence in Haydée’s The Sleeping Beauty. In this ballet she also played the White Cat, Sapphire and the Prince’s Fiancée. She performed the Pas de trois and the Russian Dance in Greve’s adaptation of Swan Lake; portraying Volante, the Fairy of Courage in Torres’s The Sleeping Beauty; the Wicked Sister in Maillot’s Cinderella; and the Christmas Fairy, Mrs Cratchit, the Arabian Dancer, the Oriental Dancer and the Waltz Solo in Vàmos’s The Nutcracker – A Christmas Carol
Audiences have also admired her performances in Zuska’s Brel–Vysotsky–Kryl / Solo for Three, A Little Touch of the Last Extreme, Symphony No. 1 in D, D. M. J. 1953–1977, Ways 03, Romeo and Juliet and In the Mist; Kodet’s Goldilocks; Konvalinka’s Guru; Robbins’s Fancy Free; Bruce’s Dance at the Crossroads and Rooster; Greben and Ivgi’s Santa Says Cut It!; and other works.
Moreover, Kristýna has participated in projects created by 420PEOPLE (Affordance, choreographed by V. Kuneš) and DekkaDancers (Moderation of the Lost, Trash, The Unfinished Piece, Intro, Cave and Creatures) as well as in choreographies by Sylva Nečasová, Ondřej Vinklát, Hanka Turečková, Palo Kršiak, and other artists.