His most notable recent opera performances include *Don Carlo*, *Falstaff*, *Otello*, *Rigoletto*, *La Bohème*, *Tosca*, *La Sonnambula*, *Don Pasquale*, *Carmen*, *Orfeo* and *Euridice*, *El Pintor*, *El Caballero de la triste figura*, *Pepita Jiménez*, *Candide*, and *Die Dreigroschenoper* for theaters such as the Gran Teatre del Liceu, the Teatro Real in Madrid, the Teatro Colón in Buenos Aires, the Teatros del Canal, and the Palau de Les Arts in Valencia, among others.

In dance, we would highlight *Carmen* (J. Inger) for the Semperoper in Dresden, the English National Ballet, Les Ballets de Monte-Carlo, and the Spanish National Dance Company; *Don Juan* (J. Inger) with Aterballetto; *The Nutcracker* and *Don Quixote* (J. Martínez); *White Darkness* (N. Duato); *Apollon* (Balanchine); *Grosse Fuge* and *DSCH* (A. Ratmansky) for the CND; *Sorolla* (A. Najarro), *El Loco* (J. Latorre), *Electra* (A. Ruz), *Homage to Antonio Ruiz Soler*, and *El sombrero de tres picos* (Ruiz Soler) with the Spanish National Ballet; *Romeo & Juliet* with Le Ballet du Grand Théâtre de Genève, *The Merry Widow* (R. Hynd), *Giselle* (Galizzi) or *Le Corsaire* (A.M. Holmes) at the Teatro Colón in Buenos Aires; *Carmen* with the Víctor Ullate Ballet; *El Amor Brujo* with La Fura dels Baus; or *Messiah* (M. Wainrot) with the Sodre National Ballet.

In zarzuela, we would highlight *La Malquerida*, *El Caserío*, *La Verbena de la Paloma*, *La Revoltosa*, *Enseñanza libre*/La gatita blanca, Entre Sevilla y Triana, Amadeu, Quo Vadis, and Plus Ultra, Luisa Fernanda, and Viva Madrid at the Teatro de la Zarzuela, the Teatro Julio Mario Santo Domingo in Bogotá, the ROH in Muscat, the Teatros del Canal in Madrid, the Teatro Arriaga in Bilbao, or the Teatro Campoamor in Oviedo.

Among the orchestras with which he has worked, the following are particularly noteworthy: the Staatskapelle Dresden, the Orchestre Philharmonique de Monte-Carlo, the ENB Phil, the Tonklünster Orchester, the G. Verdi Orchestra of Milan, the Teatro Colón Resident Orchestra, the Buenos Aires Philharmonic, the Orchestra of the Teatro Lírico di Cagliari, the Teatro Argentino Resident Orchestra, as well as virtually all Spanish orchestras. He has recorded R. Halffter’s *Música de Cámara* for Naxos and *La Verbena de la Paloma* for Decca, as well as *Sorolla*, *El Loco*, *Electra*, and *El Sombrero de tres picos* for the BNE, Sonatas and *The Nutcracker* for the CND, and the complete *Concertos for Guitar and Orchestra* by Federico Moreno Torroba, with guitarists Pepe Romero and Vicente Coves.

Since 2011, he has been assistant conductor of the Carlos III University Orchestra, with which he has conducted Beethoven’s complete symphonic cycle, as well as other works such as Sibelius’s Fifth Symphony, Dvořák’s Eighth and Ninth Symphonies, Tchaikovsky’s Fifth Symphony, Brahms’s Third Symphony, and the Spanish premiere of the Nonet, Op. No. 38 by Louise Farrenc and the Decet, Op. 14, by Enescu.

He is the principal guest conductor of the Chamartín Orchestra. He made his debut as an opera director with Conrado del Campo’s *El pájaro de dos colores* in January 2020. He has served as assistant director to Guillermo García Calvo at the Teatro de la Zarzuela for Sorozábal’s *Entre Sevilla y Triana* and Barbieri’s *Pan y Toros*, and to Miguel Ortega for Conrado del Campo’s *El pájaro de dos colores*.

He is the director of the GSD Foundation Choir, with which he has premiered Rheinberger’s Mass in D Major, Op. 169, in Spain, as well as works by Beatriz Arzamendi and Jesús Torres, and Mozart’s Requiem, K. 626. He is a senior professor of oboe and voice, and holds a bachelor’s degree in Hispanic Philology and a bachelor’s degree in Music History and Musicology. He was a professional baritone for ten years, both as a soloist and as a member of the Teatro Real Chorus. Among his notable achievements were the title role of Goya in the opera *Yo lo vi* by Tomás Marco and the role of Don Quixote in the opera *Pensares de Rocinante* by José Buenagu.

He was the baritone for the Aftershave Quartet (Gold Medalist at the National Competition in 2015 and 2017). As guest conductor of the Numen Ensemble, he is leading the revival and world premiere of Manuel García’s sacred repertoire; to date, the ensemble has performed Masses No. 2 and No. 3, with Masses No. 1, No. 4, and the “Salve Regina” still to be performed in upcoming editions of FeMAUB and FIAS.