Yon González Luna (born 20 May 1986) is a Spanish actor. He is probably best known for his performance as Iván Noiret León in the Antena 3 series The Boarding School (El internado), as well as for his role of Julio Olmedo/Espinosa in the television series Gran Hotel and for that of Francisco Gómez in the Netflix series Cable Girls.
Yon González Luna (Vergara, Guipúzcoa, 20 de mayo de 1986) es un actor español, hermano del también actor Aitor Luna. Después de su paso por SMS (La Sexta) en el personaje de Andrés, Yon González saltó a la fama por su aparición en El internado como Iván Noiret.
González was born in Bergara, Gipuzkoa, and is fluent in Spanish and Basque.
González cites Juan Diego, Jordi Mollà and Luis Tosar as his role models.
Yon González began his acting career in the LaSexta series SMS in 2006. He then went on to star in the Antena 3 series The Boarding School (El internado) from 2007 to 2010 which brought him wider popularity. González's performance as Iván Noiret León earned him an ACE Award for Best New Actor in 2010, as well as a Golden Nymph for Best Actor – Drama nomination at the Monte-Carlo Television Festival 2009.
In 2010, González portrayed Constantine II of Greece in Sofía, a television miniseries based on the life of Queen Sofía of Spain. In 2011, González worked primarily in television, appearing in Gran Reserva, which stars his older brother Aitor González Luna, who is also an actor, probably best known for his role in Paco's Men (Los hombres de Paco) and Enemigo Intimo.
And again in 2011, González starred in Gran Hotel (Gran hotel). Gran Hotel (Gran hotel), in which he starred opposite his SMS fellow actress Amaia Salamanca, won him the Fotogramas de Plata Award for Best Television Actor.
That same year he was also ranked sixth in 20 minutos' list of sexiest Spanish actors.
During the 2015-2016 he starred in two seasons drama series, Bajo Sospecha as the main protagonist, Victor. In that year, he also starred in a thriller movie together with his brother, Aitor Luna in Killing Time (Matar El Tiempo) with the role as Boris.
In 2017-2020 he played the role as Francisco Gómez on Netflix original series, Cable Girls (Las Chicas del Cable).
He is also the main protagonist on Los Herederos de la Tierra as Hugo Llor. The series - based on a historical fiction written by Ildefonso Falcones, is planned to be aired on Netflix late in 2021.
Besides being actor, González is also a model. In 2007, González modeled for David Delfín at the Cibeles Madrid Fashion Week. He also covered numerous magazines, such as Vanity Fair, Glamour, Marie Claire and Cosmopolitan, either alone or with his The Boarding School fellows.
In 2020, he worked on promoting Dolce & Gabbana's latest perfume, K and campaigned it on his Instagram account.
He is also involved in charity. In 2007, along with Martiño Rivas and Marta Torné, González supported the ONG Childhood Without Limits Foundation.
Mientras aún estaba estudiando el bachillerato en la localidad de Mondragón decidió trasladarse a Madrid para trabajar en televisión.Su debut interpretativo tuvo lugar en la serie juvenil diaria SMS, en 2006.
Finalizada la serie, se incorporó al elenco de El internado para dar vida a Iván Noiret durante las siete temporadas que duró la ficción. Su papel le llevó a ser nominado en el Festival de Televisión de Montecarlo en su 49º edición en la categoría de mejor actor de drama y a ser galardonado por la Asociación de Cronistas de Espectáculos de Nueva York como mejor actor revelación.3
En 2009 debutó en la gran pantalla participando en las películas Rabia y Mentiras y gordas.
En 2011 retomó su carrera televisiva, pues Manuel Hernández en la serie Gran Reserva, donde compartió reparto con su hermano Aitor Luna. También fue Julio Olmedo en Gran Hotel, serie que se prolongó durante tres temporadas hasta concluir en el primer trimestre del año 2013.
En 2015, estrenó Bajo sospecha, una serie donde interpreta el papel de un policía infiltrado. Además, también estrenó dos películas: la comedia Perdiendo el norte junto a Blanca Suárez; y Matar el tiempo, una película de suspenso junto a su hermano Aitor Luna.
En 2017-2020 fue el protagonista Francisco Gómez de Las chicas del cable, compartiendo reparto con Ana Fernández, Maggie Civantos, Ana Polvorosa y Blanca Suárez.
Tamara Rojo CBE (born 17 May 1974) is a Spanish ballet dancer. She is English National Ballet's artistic director and a lead principal dancer with the company. She was previously a principal dancer with The Royal Ballet.
Tamara Rojo CBE (Montreal, Canadá, 17 de mayo de 1974) es una bailarina y directora de ballet española. En la actualidad es directora artística del English National Ballet en Londres. Anteriormente fue bailarina principal de The Royal Ballet. En enero de 2016 Tamara Rojo se doctoró ‘cum laude’ en la URJC.
Tamara Rojo was born in Montreal, Quebec, Canada, to Spanish parents who returned with her to Spain when she was 4 months old. At the age of 5 she began dance classes in Madrid and became a full-time student age 11 at Madrid's Royal Professional Conservatory of Dance.
Though her parents were pleased at her developing balletic talent, they insisted Rojo also complete an academic education through evening classes she could attend after studio rehearsals. Having graduated from the Conservatory at 16, she completed her secondary studies over the next two years. She went on to complete further degrees including a bachelor of dance, master of scenic arts and a PhD in performing arts, becoming DA magna cum laude in 2016 from King Juan Carlos University.
Tamara Rojo began her professional career in 1991 with the Ballet de la Comunidad de Madrid, under the direction of Víctor Ullate. In 1994, she won Gold Medal at the Paris International Dance competition, together with a Special Jury Award from a panel including Natalia Makarova, Galina Samsova and Vladimir Vasiliev, three outstanding figures in the ballet world at that time.
In 1996 Galina Samsova, artistic director of Scottish Ballet, invited Rojo to join the company. There she performed principal roles in Swan Lake, The Nutcracker, La Sylphide and Cranko's Romeo and Juliet. Derek Deane, then English National Ballet artistic director, asked her to join ENB the following year. For her he created the roles of Juliet in "Romeo and Juliet" and Clara in "The Nutcracker" for which The Times named Rojo "Dance Revelation of the Year" in 1997. She also danced principal roles in Swan Lake, Paquita, Coppelia and Glen Tetley's The Sphinx.
Rojo approached Royal Ballet director Anthony Dowell in 2000 with a view to joining the company. Over the next 12 years, she performed major roles in most of the company's repertoire including ballets choreographed by Kenneth MacMillan and Frederick Ashton, Dowell's Swan Lake, Makarova's La Bayadere, Rudolph Nureyev's Don Quixote, and Peter Wright 's The Nutcracker. She danced in the world premiere of Snow White, created for her by choreographer Ricardo Cué. The title role in Isadora was recreated for her by MacMillan's widow, the artist and set designer Deborah MacMillan, custodian of the late choreographer's ballets.
In 2000, Rojo was asked at short notice to replace the injured Royal Ballet principal Darcey Bussell in the title role in Giselle. Ignoring her own sprained ankle, Rojo learned the role in a fortnight and went on to receive rave reviews. In 2002, while dancing Clara in Nutcracker, Rojo began to tremble on stage. Sent to a private hospital after the performance, she learned her appendix had burst and was told to take six weeks off. However, she resumed dancing after only two, relapsed and returned to hospital. Rojo admitted some years later it was "completely wrong and I do not feel that anyone should do this. It really is not worth it."
In 2003, while preparing for the Royal Ballet's Australian tour, Rojo suffered an infected bunion so serious that her foot swelled to the size of a tennis ball. Doctors recommended surgery on her foot, a potentially career-ending operation. Months later, after countless hours of rehabilitation, she resumed dancing and said the injury changed her perspective on life, her body and dance. She felt that she valued each and every day more and learned that nothing in life should be taken for granted.
After this experience, she and her father developed a device to stretch pointe shoes in order to reduce pressure on bunions, and formed a company in 2017 to market it.
In April 2012 it was announced that Rojo would become the artistic director of English National Ballet.
Under her direction the English National Ballet, for the first time in history, was invited to dance from 21 to 25 June 2016 at the Paris Opera Palais Garnier, the most famous ballets in its repertoire: Marius Petipa and Konstantin Sergeyev's version of Le Corsaire in a revival by Anna-Marie Holmes.
In 2014, she presented a documentary entitled Good Swan, Bad Swan: Dancing Swan Lake for the BBC and she followed up with Giselle: Belle of the Ballet in 2017, which included the history of the both the original production and the new ballet created for the ENB by Akram Khan. She had commissioned Khan to re-imagine the story: Khan went on to win the Critics’ Circle National Dance Awards 2017 for Best Classical Choreography and Alina Cojocaru won Outstanding Female Performance (Classical) as Giselle, and the company as a whole won an Olivier Award for Outstanding achievement in dance.
Rojo is set to make her choreographic debut with a Florence Nightingale-inspired version of Raymonda, set during the Crimean War. It is scheduled to premiere in January 2021, but the pandemic has postponed it.
Nació en la ciudad canadiense de Montreal donde residían sus padres, ambos de nacionalidad española. Cuando Tamara cumplió cuatro meses se trasladaron a España. Se inició en el Centro de Danza Víctor Ullate (1983-1991), completando su formación con David Howard y Renatto Paroni. Tras formar parte de la Compañía de Ullate (1991-1996), Galina Samsova la invitó a bailar en el Scottish Ballet (1996-1997). Con esta compañía interpretó, entre otras obras, El lago de los cisnes, El Cascanueces, Romeo y Julieta y La sylphide. Doctora con sobresaliente ‘cum laude’ en el Instituto Superior de Danza Alicia Alonso de la Universidad Rey Juan Carlos con la tesis: Perfil Psicológico de un Bailarín de alto nivel. Rasgos vocacionales del bailarín profesional. Anteriormente obtuvo el Máster en Artes Escénicas por la URJC.
Con 25 años fue bailarina principal en el English National Ballet (Ballet Nacional de Inglaterra) (1997-2000), categoría con la que se incorporó al The Royal Ballet de Londres, invitada por Anthony Dowell en julio de 2000.
Ha actuado, como artista invitada, entre otras compañías de ballet, con: el Ballet Mariinski, el ballet del Teatro de La Scala de Milán, el Tokyo Ballet, el ballet del Teatro Mijáilovski de San Petersbugo, el Ballet de la Ópera de Niza, el Arena de Verona, el Ballet Nacional de Cuba y el Ballet de la Ópera de Berlín y ha participado en numerosas galas de ámbito internacional.
Directora del English National Ballet a partir de septiembre de 2012, se comprometió a mantener los clásicos relevantes y renovados, lo que le encaminó a ofrecer al galardonado coreógrafo Akram Khan el desafío creativo de crear una nueva versión del ballet clásico Giselle. Bajo la dirección de Tamara Rojo, el English National Ballet fue invitado, por primera vez en la historia, a bailar del 21 al 25 de junio de 2016 en la Ópera de París Palais Garnier: Le Corsaire, de Marius Petipa y Konstantín Serguéiev, en la renovada versión de Anna-Marie Holmes.
En 2016 Rojo invitó al coreógrafo Akram Khan a recrear una nueva versión del icónico ballet romántico Giselle resultando un destacado éxito.
La pandemia de la COVID-19 retrasó el estreno de una renovada versión coreografiada por Tamara Rojo del ballet clásico Raymonda, inspirado en el espíritu revolucionario de la enfermera Florence Nighting para situar la escena en la Guerra de Crimea en 1854.
Richard Avedon (May 15, 1923 – October 1, 2004) was an American fashion and portrait photographer. He worked for Harper's Bazaar and Vogue, specializing in capturing movement in still pictures of fashion, theater and dance. An obituary published in The New York Times said that "his fashion and portrait photographs helped define America's image of style, beauty and culture for the last half-century".
Richard Avedon was born in New York City to a Jewish family. His father, Jacob Israel Avedon, was a Russian-born immigrant who advanced from menial work to starting his own successful retail dress business on Fifth Avenue called Avedon's Fifth Avenue. His mother, Anna, from a family that owned a dress-manufacturing business, encouraged Richard's love of fashion and art.
Avedon's interest in photography emerged when, at age 12, he joined a Young Men's Hebrew Association (YMHA) Camera Club. He would use his family's Kodak Box Brownie not only to feed his curiosity about the world but also to retreat from his personal life. His father was a critical and remote disciplinarian, who insisted that physical strength, education, and money prepared one for life. The photographer's first muse was his younger sister, Louise. During her teen years, she struggled through psychiatric treatment, eventually becoming increasingly withdrawn from reality and diagnosed with schizophrenia.
Avedon attended DeWitt Clinton High School in Bedford Park, Bronx, where from 1937 until 1940 he worked on the school paper, The Magpie, with James Baldwin. As a teen, he also won a Scholastic Art and Writing Award. After graduating from DeWitt Clinton that year, he enrolled at Columbia University to study philosophy and poetry but dropped out after one year. He then started as a photographer for the Merchant Marines, taking ID shots of the crewmen with the Rolleiflex camera his father had given him. From 1944 to 1950, Avedon studied photography with Alexey Brodovitch at his Design Laboratory at The New School for Social Research.
In 1944, Avedon began working as an advertising photographer for a department store, but was quickly endorsed by Alexey Brodovitch, who was art director for the fashion magazine Harper's Bazaar. Lillian Bassman also promoted Avedon's career at Harper's. In 1945, his photographs began appearing in Junior Bazaar and, a year later, in Harper's Bazaar.
In 1944, Avedon married 19-year-old bank teller Dorcas Marie Nowell, who later became the model and actress Doe Avedon; they did not have children and divorced in 1949. He was reportedly devastated when Nowell left him.
In 1946, Avedon had set up his own studio and began providing images for magazines including Vogue and Life. From 1950, he also contributed photographs to Life, Look and Graphis.
In 1951, he married Evelyn Franklin; she died on March 13, 2004. Their marriage produced one son, John Avedon, who has written extensively about Tibet.
Avedon did not conform to the standard technique of taking studio fashion photographs, where models stood emotionless and seemingly indifferent to the camera. Instead, Avedon showed models full of emotion, smiling, laughing, and, many times, in action in outdoor settings, which was revolutionary at the time. However, towards the end of the 1950s, he became dissatisfied with daylight photography and open air locations and so turned to studio photography, using strobe lighting.
Audrey Hepburn was Avedon's muse in the 1950s and 1960s, and he went so far as to say: "I am, and forever will be, devastated by the gift of Audrey Hepburn before my camera. I cannot lift her to greater heights. She is already there. I can only record. I cannot interpret her. There is no going further than who she is. She has achieved in herself her ultimate portrait."
Hollywood presented a fictional account of Avedon's early career in the 1957 musical Funny Face, starring Fred Astaire as the fashion photographer "Dick Avery." Avedon supplied some of the still photographs used in the production, including its most noted single image: an intentionally overexposed close-up of Audrey Hepburn's face in which only her noted features – her eyes, her eyebrows, and her mouth – are visible.
When Diana Vreeland left Harper's Bazaar for Vogue in 1962, Avedon joined her as a staff photographer. He proceeded to become the lead photographer at Vogue and photographed most of the covers from 1973 until Anna Wintour became editor in chief in late 1988.
Notable among his fashion advertisement series are the recurring assignments for Gianni Versace, beginning with the spring/summer campaign 1980. He also photographed the Calvin Klein Jeans campaign featuring a fifteen-year-old Brooke Shields, as well as directing her in the accompanying television commercials. Avedon first worked with Shields in 1974 for a Colgate toothpaste ad. He shot her for Versace, 12 American Vogue covers and Revlon's Most Unforgettable Women campaign. In the February 9, 1981, issue of Newsweek, Avedon said that "Brooke is a lightning rod. She focuses the inarticulate rage people feel about the decline in contemporary morality and destruction of innocence in the world." On working with Avedon, Shields told Interview magazine in May 1992, "When Dick walks into the room, a lot of people are intimidated. But when he works, he's so acutely creative, so sensitive. And he doesn't like it if anyone else is around or speaking. There is a mutual vulnerability, and a moment of fusion when he clicks the shutter. You either get it or you don't".
In addition to his continuing fashion work, by the 1960s Avedon was making studio portraits of civil rights workers, politicians and cultural dissidents of various stripes in an America fissured by discord and violence. He branched out into photographing patients of mental hospitals, the Civil Rights Movement in 1963, protesters of the Vietnam War, and later the fall of the Berlin Wall.
During this period, Avedon also created two well known sets of portraits of The Beatles. The first, taken in mid to late 1967, became one of the first major rock poster series. The next year, he photographed the much more restrained portraits that were included with The Beatles LP in 1968.
Avedon was always interested in how portraiture captures the personality and soul of its subject. As his reputation as a photographer became widely known, he photographed many noted people in his studio with a large-format 8×10 view camera. His subjects include Buster Keaton, Marian Anderson, Marilyn Monroe, Ezra Pound, Isak Dinesen, Dwight D. Eisenhower, Andy Warhol, and the Chicago Seven. His portraits are distinguished by their minimalist style, where the person is looking squarely at the camera, posed in front of a sheer white background. By eliminating the use of soft lights and props, Avedon was able to focus on the inner worlds of his subjects evoking emotions and reactions. He would at times evoke reactions from his portrait subjects by guiding them into uncomfortable areas of discussion or asking them psychologically probing questions. Through these means he would produce images revealing aspects of his subject's character and personality that were not typically captured by others.
In 1970, Avedon purchased a former carriage house on the Upper East Side of Manhattan that would serve as both his studio and apartment. In the late 1970s, he purchased a four-bedroom house on a 7.5-acre (3.0 ha) estate in Montauk, New York, between the Atlantic Ocean and a nature preserve; he sold it for almost $9 million in 2000.
Serious heart inflammations hindered Avedon's health in 1974. The troubling time inspired him to create a compelling collection from a new perspective. In 1979, he was commissioned by Mitchell A. Wilder (1913–1979), the director of the Amon Carter Museum in Fort Worth, Texas, to complete the “Western Project.” It became a turning point in Avedon's career when he focused on everyday working class subjects such as miners soiled in their work clothes, housewives, farmers and drifters on larger-than-life prints, instead of the more traditional options of focusing upon noted public figures or the openness and grandeur of the West. The project lasted five years concluding with an exhibition and a catalogue.
The project was embedded with Avedon's goal to discover new dimensions within himself, from a Jewish photographer from the East who celebrated the lives of noted public figures, to an aging man at one of the last chapters of his life, to discovering the inner-worlds, and untold stories of his Western rural subjects.
In 1982 Avedon produced a playfully inventive series of advertisements for fashion label Christian Dior, based on the idea of film stills.
Avedon became the first staff photographer for The New Yorker in 1992, where his post-apocalyptic, wild fashion fable “In Memory of the Late Mr. and Mrs. Comfort,” featuring model Nadja Auermann and a skeleton, was published in 1995. Other pictures for the magazine, ranging from the first publication, in 1994, of previously unpublished photos of Marilyn Monroe to a resonant rendering of Christopher Reeve in his wheelchair and nude photographs of Charlize Theron in 2004, were topics of wide discussion. Some of his less controversial New Yorker portraits include those of Saul Bellow, Hillary Clinton, Toni Morrison, Derek Walcott, John Kerry, and Stephen Sondheim. In his later years, he continued to contribute to Egoïste, where his photographs appeared from 1984 through 2000. In 1999, Avedon shot the cover photos for Japanese-American singer Hikaru Utada's Addicted to You.
Photographer Annie Leibovitz names Avedon as a major influence, describing his style as ‘personal reportage’, developing close rapport with one's subjects.
Avedon had numerous museum exhibitions around the world. His first major retrospective was at the Minneapolis Institute of Arts in 1970. The Metropolitan Museum of Art, New York, presented two solo exhibitions during his lifetime, in 1978 and 2002. Major retrospectives were mounted at the Whitney Museum of American Art, New York (1994), and at the Louisiana Museum of Modern Art, Humlebaek, Denmark (2007; which traveled to Milan, Paris, Berlin, Amsterdam and San Francisco, through 2009). Showing Avedon's work from his earliest, sun-splashed pictures in 1944 to portraits in 2000 that convey his fashion fatigue, the International Center of Photography in 2009 mounted the largest survey of his fashion work.
In 2010, a record price of £719,000 was achieved at Christie's for a unique seven-foot-high print of model Dovima, posing in a Christian Dior evening dress with elephants from the Cirque d’Hiver, Paris, in 1955. This particular print, the largest of this image, was made in 1978 for Avedon's fashion retrospective at the Metropolitan Museum of Art in New York, and was bought by Maison Christian Dior.
On October 1, 2004, Richard Avedon died in a San Antonio, Texas, hospital of complications from a cerebral hemorrhage. He was in San Antonio shooting an assignment for The New Yorker. At the time of his death, he was also working on a new project titled Democracy to focus on the run-up to the 2004 U.S. presidential election.
The Richard Avedon Foundation is a private operating foundation, structured by Avedon during his lifetime. It began its work shortly after his death in 2004. Based in New York, the foundation is the repository for Avedon's photographs, negatives, publications, papers, and archival materials.