Ana Vega Toscano

Ana Vega Toscano holds a PhD in Artistic, Literary, and Cultural Studies from UAM and a Higher Degree in Music from RCSMM, where she studied piano, organ, composition, and musicology, earning an end-of-degree award in the latter. She also holds degrees in Information Sciences, specializing in Journalism, and in Geography and History, both from UCM, where she likewise obtained the Research Proficiency certificate in Art History. She expanded her musical training with specialization courses in Electroacoustic Music at LIEM-CDMC of INAEM (Ministry of Culture), Gregorian Chant at the Monastery of Santo Domingo de Silos, and Ibero-American Musical Archaeology at the Museum of the Americas, among others. She refined her piano studies with Agustina Pallaviccini and Pedro Espinosa, vocal technique with Jorge Uribe, and vocal repertoire with Miguel Zanetti. She completed her stage training with dance studies, which she began at the Spanish dance academy of Pilar de Oro and Alfredo Gil’s company, soon focusing on flamenco dance at the Amor de Dios school and Casa Patas Foundation. Later she explored ethnic-contemporary dance at the Fusión-Art space, creative dance with specialization courses at the María de Ávila Higher Conservatory of Dance, and historical dance with training at the CoreoLab (Choreological Laboratory) space of the CSIC Institute of History. She also holds a diploma in Audiovisual Communication through the continuing education system of the Spanish Radio and Television Institute.
In her artistic career she has performed as a guest at numerous festivals: Otoño Soriano, Madrid Autumn Festival, Jubilee 2000 in Rome, DGM Festival in Weimar, Synthèse Festival in Bordeaux, Cervantino Festival in Guanajuato, Alicante Festival, among others, and in venues such as the National Auditorium, Teatro Real, Auditorium 400 at the Reina Sofía, Saint Sulpice in Paris, and the National Theater of Brazil in Brasilia. Notable are her special concerts for the Ismos exhibition by Ramón Gómez de la Serna, for MCARS, and for the inauguration of the Manuel de Falla Archive in Cádiz. She has premiered numerous works, many of them dedicated by composers such as Manuel Balboa, María Escribano, Adolfo Núñez, and Jorge Antunes. She has carried out extensive work studying and recovering Spanish musical heritage, with numerous recordings and productions for RTVE. She was a pioneer in Spain in the piano and electroacoustic repertoire through the Anira duo formed with composer Adolfo Núñez. She works in the piano duo repertoire in its two-piano and four-hand piano forms, first through her duo with pianist Clara Romero (Romero/Vega Duo), with which she performed various monographic programs: complete four-hand piano works of P. Donostia (recording for RNE), Spanish music for two pianos in the 20th century for the Music Hall of UUAH, and premieres of works dedicated to the duo by composers such as María Escribano, Adolfo Núñez, and David del Puerto. She currently maintains collaboration in this specialty with pianist Ana Benavides, with whom she has performed the complete four-hand piano works of Joaquín Rodrigo for the Rodrigo Foundation and the monographic program of Spanish Romantic four-hand piano music for the Joaquín Leguina Library in Madrid.
In the field of composition, she has created works for radio and theater, with commissions from La Casa Encendida and the theater companies El Astillero and the Centro Dramático Rural. She has collaborated in the creation of open works with María Escribano and Adolfo Núñez, and especially with Marisa Manchado: both have founded the Anmar duo, which among its latest creations includes the multimedia oratorio Un grito en la noche for the Teatros del Canal and the concert/performance Ritual for the Lo Sagrado festival.
As an actress and performer, she debuted at the Centro de Nuevas Tendencias Escénicas under the direction of Guillermo Heras in La Risa en los Huesos, by José Bergamín. She later premiered the concert-intermedia Préstame 88, by José Iges and Concha Jerez. Zambra 44.1 and Boceto místico by Adolfo Núñez, Anadiplosia de Tirso, by Jorge Antunes, La Ciudad, by José Iges, Cosa h’anno che vedere la zoofilia e la polifonía, by Eduardo Polonio.
In the field of research, she has presented papers at numerous international conferences and has been part of the scientific and organizing committee in many of them. She has collaborated in the Diccionario Biográfico Español of the Real Academia de la Historia, the Diccionario de la Música Española e Hispanoamericana of the ICCMU, in the Gran Enciclopedia Cervantina, of the UAH, and in the Routledge International Encyclopedia of Women, in its Spanish edition by the Instifem of the UCM.
She has been assistant director of the magazine Ritmo, member of the board of directors of the Sociedad Española de Musicología, vice president of the Asociación de Mujeres en la Música, delegate of Ars Acustica and member of the steering committee of Euroradioclassics in the European Broadcasting Union (EBU/UER), director of Radio Clásica, president of the jury of the Ondas Award in its international section, and jury of the International Rostrum of Composers of UNESCO. She has also been a member of the Editorial Board of the Revista de Musicología, of the SEdEM, and currently is of the magazine Artescénica, of the Academia de Artes Escénicas de España, and of the scientific advisory committee of the magazine of musical specialization Quodlibet of the UAH. She is also a member of the Academia de Artes Escénicas de España and of the Academia de Ciencias y Artes de la Televisión.
Since the 2025-2026 academic year, she has been a supervising professor of end-of-studies projects at the Escuela Superior de Música Reina Sofía in Madrid.