Centre de Documentació i Museu de les Arts Escèniques

Archives and Libraries
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Soprano

Victòria dels Àngels studied at the Superior Conservatory of Music of the Liceu. Member of Ars Musicae, she debuted at the Gran Teatre del Liceu in 1945 singing the role of Countess of Almaviva in Le Nozze di Figaro. This debut was the start of an international career that took her to the most important theaters and festivals around the world, including the Wagner Festival in Bayreuth where, in 1961, she sang the role of Elisabeth in Tannhäuser. She finished her operatic career singing Pélleas et Mélisande by C. Debussy at the Teatro de la Zarzuela in Madrid. From the 1980s, she decided to focus on recitals and singing lieder, a genre in which she was considered exceptional. She made numerous recordings, some of which were highly praised. She was considered one of the greatest sopranos of the second half of the twentieth century.

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Soprano

Victòria dels Àngels studied at the Superior Conservatory of Music of the Liceu. Member of Ars Musicae, she debuted at the Gran Teatre del Liceu in 1945 singing the role of Countess of Almaviva in Le Nozze di Figaro. This debut was the start of an international career that took her to the most important theaters and festivals around the world, including the Wagner Festival in Bayreuth where, in 1961, she sang the role of Elisabeth in Tannhäuser. She finished her operatic career singing Pélleas et Mélisande by C. Debussy at the Teatro de la Zarzuela in Madrid. From the 1980s, she decided to focus on recitals and singing lieder, a genre in which she was considered exceptional. She made numerous recordings, some of which were highly praised. She was considered one of the greatest sopranos of the second half of the twentieth century.

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Zarzuela and revue singer

In 1908 she settled in Barcelona and sung zarzuela, revue and operetta. In 1910 she performed at Teatre Tívoli in La corte del Faraón (with music by Lleó). The following year she premiered the lyrical sainete Gente menuda (with music by Valverde) at Teatre Còmic, and in 1912 Abierta toda la noche, (with music by Quislant i Badia) at Tívoli. In 1913 she took part in the premiere of El casament d’en Tarregada (with music by Francesc Montserrat) at the Teatre Nou.Despite numerous offers to perform outside of Barcelona, the so-called "Queen of the Parallel", performed mainly in theatres located on Avinguda Parallel, with very few exceptions. She had a light voice and imitated singers such as Pastora Imperio, La Fornarina and the French Nitta Jo, among others.She obtained a wide success acting with Joaquim Montero’s company, particularly in the revues ¡Arriba el telón! and Monterògraf. While rehearsing Cuando el amor muere with this company, she succumbed to the typhus epidemic that affected Barcelona between 1914 and 1915.

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Zarzuela and revue singer

In 1908 she settled in Barcelona and sung zarzuela, revue and operetta. In 1910 she performed at Teatre Tívoli in La corte del Faraón (with music by Lleó). The following year she premiered the lyrical sainete Gente menuda (with music by Valverde) at Teatre Còmic, and in 1912 Abierta toda la noche, (with music by Quislant i Badia) at Tívoli. In 1913 she took part in the premiere of El casament d’en Tarregada (with music by Francesc Montserrat) at the Teatre Nou.Despite numerous offers to perform outside of Barcelona, the so-called "Queen of the Parallel", performed mainly in theatres located on Avinguda Parallel, with very few exceptions. She had a light voice and imitated singers such as Pastora Imperio, La Fornarina and the French Nitta Jo, among others.She obtained a wide success acting with Joaquim Montero’s company, particularly in the revues ¡Arriba el telón! and Monterògraf. While rehearsing Cuando el amor muere with this company, she succumbed to the typhus epidemic that affected Barcelona between 1914 and 1915.

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["last_comment_name"]=> NULL ["last_comment_uid"]=> string(1) "5" ["comment_count"]=> string(1) "0" ["name"]=> string(4) "crg1" ["picture"]=> string(1) "0" ["data"]=> string(189) "a:6:{s:16:"ckeditor_default";s:1:"t";s:20:"ckeditor_show_toggle";s:1:"t";s:14:"ckeditor_width";s:4:"100%";s:13:"ckeditor_lang";s:2:"en";s:18:"ckeditor_auto_lang";s:1:"t";s:7:"contact";i:0;}" } } } ["field_field_np_cognom_1"]=> array(1) { [0]=> array(2) { ["rendered"]=> array(2) { ["#markup"]=> string(7) "Montoro" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(7) "Montoro" ["format"]=> NULL ["safe_value"]=> string(7) "Montoro" } } } ["field_field_np_cognom_2"]=> array(1) { [0]=> array(2) { ["rendered"]=> array(2) { ["#markup"]=> string(10) "Rodríguez" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(10) "Rodríguez" ["format"]=> NULL ["safe_value"]=> string(10) "Rodríguez" } } } } [2]=> object(stdClass)#228 (9) { ["node_title"]=> string(6) "Ramona" ["nid"]=> string(4) "6532" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(6) "Rovira" ["field_data_field_np_cognom_1_node_entity_type"]=> string(4) "node" ["field_data_field_np_cognom_2_node_entity_type"]=> string(4) "node" ["_field_data"]=> array(1) { ["nid"]=> array(2) { ["entity_type"]=> string(4) "node" ["entity"]=> object(stdClass)#219 (53) { ["vid"]=> string(4) "6699" ["uid"]=> string(1) "5" ["title"]=> string(6) "Ramona" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "6532" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1617784728" ["changed"]=> string(10) "1617784728" ["tnid"]=> string(4) "6382" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1617784728" ["revision_uid"]=> string(1) "5" ["body"]=> array(0) { } ["field_g_nere"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { 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string(1150) "

Cuplet singer

She made her debut as a cuplet singer in 1921 in Barcelona and received singing lessons from Joan Viladomat and Vicenç Martín Quirós. She specialized in couplet inspired by French chanson realiste, taking singers such as La Fréhel, Edith Piaf and Juliette Gréco as her role models.

In 1922, whilst achieving success at Teatre Apol·lo, she recorded La muller d'en Manelic and La filla del pescador for Gramófono record label. Joan Viladomat composed the music for the tango-couplet Fumando espero and she popularized it at the Edén Concert (Barcelona) and recorded it in 1924. In 1923 she made her debut at Teatro Maravillas in Madrid.

During the second half of the 1920s she consolidated her success in the Eldorado and Circ Barcelonès theatres, with couplets such as El tango de la cocaína (with music by Viladomat) which she recorded in 1927. From 1930, she appeared on stages only sporadically, back at Circ Barcelonès, Coliseum and Tívoli. Her last public appearance was in 1944 at Circ Roxy.

 

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Cuplet singer

She made her debut as a cuplet singer in 1921 in Barcelona and received singing lessons from Joan Viladomat and Vicenç Martín Quirós. She specialized in couplet inspired by French chanson realiste, taking singers such as La Fréhel, Edith Piaf and Juliette Gréco as her role models.

In 1922, whilst achieving success at Teatre Apol·lo, she recorded La muller d'en Manelic and La filla del pescador for Gramófono record label. Joan Viladomat composed the music for the tango-couplet Fumando espero and she popularized it at the Edén Concert (Barcelona) and recorded it in 1924. In 1923 she made her debut at Teatro Maravillas in Madrid.

During the second half of the 1920s she consolidated her success in the Eldorado and Circ Barcelonès theatres, with couplets such as El tango de la cocaína (with music by Viladomat) which she recorded in 1927. From 1930, she appeared on stages only sporadically, back at Circ Barcelonès, Coliseum and Tívoli. Her last public appearance was in 1944 at Circ Roxy.

 

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Baritone

He learned singing with Anna Militch and completed his musical studies in Paris. In 1940 he sang Pagliacci at the Teatre Coliseum and made his debut at Liceu at the end of 1943 with Madama Butterfly, with Mercè Capsir. He sang in the most important international opera houses, completing successful performances on European and American tours and sharing the stage with the great singers of his time.

At Liceu, he showed a dramatic baritone voice. His performances of Wagner and Verdi stand out, in addition to his characterization of the main role in Boris Godunov. He also he premiered Falla’s Atlàntida, Massana’s Canigó  and Casals’s El pessebre at Liceu. Furthermore, he took part in the premiere of Hindemith’s Cardillac in 1948 at the La Fenice, and that of Díaz Giles’s Alhambra at Teatro Eslava (Madrid) the following year.

Although he did not participate in many recordings, in 1954 he starred in that of Usandizaga’s Las golondrinas and in 1968 he recorded a version of Toldrà’s El giravolt de maig.

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Baritone

He learned singing with Anna Militch and completed his musical studies in Paris. In 1940 he sang Pagliacci at the Teatre Coliseum and made his debut at Liceu at the end of 1943 with Madama Butterfly, with Mercè Capsir. He sang in the most important international opera houses, completing successful performances on European and American tours and sharing the stage with the great singers of his time.

At Liceu, he showed a dramatic baritone voice. His performances of Wagner and Verdi stand out, in addition to his characterization of the main role in Boris Godunov. He also he premiered Falla’s Atlàntida, Massana’s Canigó  and Casals’s El pessebre at Liceu. Furthermore, he took part in the premiere of Hindemith’s Cardillac in 1948 at the La Fenice, and that of Díaz Giles’s Alhambra at Teatro Eslava (Madrid) the following year.

Although he did not participate in many recordings, in 1954 he starred in that of Usandizaga’s Las golondrinas and in 1968 he recorded a version of Toldrà’s El giravolt de maig.

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