Ana Vega Toscano

Ana Vega Toscano holds a PhD in Artistic, Literary and Cultural Studies from the UAM, and is a Senior Professor of Music from the RCSMM, where she studied piano, organ, composition and musicology, a specialty in which she obtained an end-of-degree award. She also holds a degree in Information Sciences, specializing in Journalism, and in Geography and History, both from the UCM, where she also obtained the title of Research Sufficiency in the specialty of Art History. She expanded her musical training with specialization courses in Electroacoustic Music at the LIEM-CDMC of the INAEM (Ministry of Culture), Gregorian Chant at the Monastery of Santo Domingo de Silos, Ibero-American Musical Archeology at the Museum of America, among others. She perfected 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 the Pilar de Oro and Alfredo Gil company, to soon focus on the specialty of flamenco dance at the Amor de Dios school and the Casa Patas Foundation. Later, she approached the specialty of ethnic-contemporary dance at the Fusión-Art space, creative dance with specialization courses at the María de Ávila Higher Dance Conservatory, 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 with the permanent training system of the Spanish Radio and Television Institute
In her artistic career, she has been invited to perform at numerous festivals: Otoño Soriano, Festival de Otoño de Madrid, 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. 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 stand out. She has premiered numerous works, many of them dedicated by authors such as Manuel Balboa, María Escribano, Adolfo Núñez, and Jorge Antunes. She has carried out extensive work in the study and recovery of Spanish musical heritage, with numerous records and productions for RTVE. She was a pioneer in Spain in the repertoire of piano and electroacoustics, through the Anira duo formed with the composer Adolfo Núñez. She works on the repertoire of the piano duo in its aspects of two pianos and piano four hands, first through her duo with the pianist Clara Romero (Dúo Romero/Vega), with whom she performed very different monographs: complete work for piano 4 hands by P. Donostia (recording for RNE), Spanish music for two pianos in the 20th century for the Aula de Música of the UUAH, and with premieres of works dedicated to the duo by authors such as María Escribano, Adolfo Núñez, and David del Puerto. She currently maintains collaboration in this specialty with the pianist Ana Benavides, with whom she has performed the complete piano 4 hands works of Joaquín Rodrigo for the Rodrigo Foundation and the monographic work of Spanish romantic piano 4 hands for the Joaquín Leguina Library of 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.