GONZALO GARCIA LEADS MIAMI CITY BALLET INTO A NEW ERA SHAPED BY COLLABORATION AND ARTISTIC DEPTH.
When Gonzalo Garcia walked into the rehearsal studios of Miami City Ballet this summer, the company was already buzzing. Dancers stretched at the barre, staff gathered near the mirrors, and a new energy filled the space. The celebrated former New York City Ballet principal had arrived to begin his next act — as artistic director of one of the most respected dance companies in the country.
Garcia, born in Zaragoza, Spain, brings a 25-year career that spans two of America’s most storied institutions: San Francisco Ballet and New York City Ballet. At 15, he became the youngest-ever gold medalist at the Prix de Lausanne. By 29, he was performing Balanchine and Robbins masterworks under the watch of Mikhail Baryshnikov. Now, at 43, he’s turning his focus to the dancers of Miami City Ballet — shaping the company’s future while honoring its roots.
“The Balanchine and Robbins heritage is essential in who we are,” he said. “My programming seeks works that complement those roots while allowing us to learn and grow in new directions.”
Garcia’s vision for Miami City Ballet centers on collaboration — between dancers, choreographers, and audiences. “This company already has a remarkable sense of community — a feeling of family — that is rare in a competitive field,” he said. “Their energy and passion reflect the spirit of Miami itself.”
He describes his first season as one built on “trust and foundations.” That means time in the studio, side by side with the dancers, and time with every department of the organization. “I envision a company with a broader repertoire and artists who feel abundant, transparent and proud — on and off the stage,” Garcia said.
The upcoming season reflects that ambition. Garcia has invited Patricia Delgado and Tiler Peck to make their choreographic debuts with the company and enlisted Christopher Wheeldon to anchor an evening of narrative work. “I want to bring in voices and collaborators that understand who MCB is — and will elevate us,” he said.
His perspective is global but personal. “Dancing all around the world has helped me stay open-minded about what success can be,” Garcia said. “Different audiences want different things. Listening to your community — and learning from them — is crucial.”
He also plans to strengthen ties between the company and the Miami City Ballet School, which he calls “the future.” He’s already teaching pre-professional levels and joining the audition tour for next year’s Summer Programs. “The school and the company are one story,” he said. “They grow together.”
Collaboration extends beyond the studio. Garcia’s husband, filmmaker and former MCB dancer Ezra Hurwitz, will support digital storytelling and visual projects for the company. “He brings deep history with MCB and understands the power of film to share what we do,” Garcia said.
For audiences, Garcia hopes every performance feels intimate and expansive at once. “I want them to leave inspired, energized, and having experienced something new through dance.”
When Gonzalo Garcia walked into the rehearsal studios of Miami City Ballet this summer, the company was already buzzing. Dancers stretched at the barre, staff gathered near the mirrors, and a new energy filled the space. The celebrated former New York City Ballet principal had arrived to begin his next act — as artistic director of one of the most respected dance companies in the country.
Garcia, born in Zaragoza, Spain, brings a 25-year career that spans two of America’s most storied institutions: San Francisco Ballet and New York City Ballet. At 15, he became the youngest-ever gold medalist at the Prix de Lausanne. By 29, he was performing Balanchine and Robbins masterworks under the watch of Mikhail Baryshnikov. Now, at 43, he’s turning his focus to the dancers of Miami City Ballet — shaping the company’s future while honoring its roots.
“The Balanchine and Robbins heritage is essential in who we are,” he said. “My programming seeks works that complement those roots while allowing us to learn and grow in new directions.”
Garcia’s vision for Miami City Ballet centers on collaboration — between dancers, choreographers, and audiences. “This company already has a remarkable sense of community — a feeling of family — that is rare in a competitive field,” he said. “Their energy and passion reflect the spirit of Miami itself.”
He describes his first season as one built on “trust and foundations.” That means time in the studio, side by side with the dancers, and time with every department of the organization. “I envision a company with a broader repertoire and artists who feel abundant, transparent and proud — on and off the stage,” Garcia said.
The upcoming season reflects that ambition. Garcia has invited Patricia Delgado and Tiler Peck to make their choreographic debuts with the company and enlisted Christopher Wheeldon to anchor an evening of narrative work. “I want to bring in voices and collaborators that understand who MCB is — and will elevate us,” he said.
His perspective is global but personal. “Dancing all around the world has helped me stay open-minded about what success can be,” Garcia said. “Different audiences want different things. Listening to your community — and learning from them — is crucial.”
He also plans to strengthen ties between the company and the Miami City Ballet School, which he calls “the future.” He’s already teaching pre-professional levels and joining the audition tour for next year’s Summer Programs. “The school and the company are one story,” he said. “They grow together.”
Collaboration extends beyond the studio. Garcia’s husband, filmmaker and former MCB dancer Ezra Hurwitz, will support digital storytelling and visual projects for the company. “He brings deep history with MCB and understands the power of film to share what we do,” Garcia said.
For audiences, Garcia hopes every performance feels intimate and expansive at once. “I want them to leave inspired, energized, and having experienced something new through dance.”
