Coliseum

Historical Theatres and Concert Halls
Coliseum
  • Year of establishment: 1923
    History:

    Teatre que va ser inaugurat el 1923 a la Gran Via de les Corts Catalanes a partir del projecte de l’arquitecte Francesc de Paula Nebot com un cinema de grans proporcions. També va programar activitats musicals, entre les que destaquen les temporades operístiques que va impulsar el Club de Futbol Júnior. A l’any 1925 l'Orquestra Pau Casals va celebrar-hi alguns concerts. S'hi van estrenar obres com ara l'opereta Black, el payaso (1942) de Pablo Sorozábal, i els ballets Manfred de Xavier Montsalvatge i El retrat de Dorian Gray (1945) de Joan Manén. Des de 1955, amb la compra per part de Pere Balañà, va programar grans estrenes de cinema, però amb concerts excepcionals, com els que va oferir Joan Manuel Serrat, i representacions de teatre com Yerma amb Núria Espert. El 2007 es va reconvertir en teatre.


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Composer, violinist and director

Considered a child prodigy, he offered his first recital in Barcelona at seven years of age, having studied with Clemente Ibarguren and Frederic Balart. He toured America with ten years and soon became an internationally renowned performer. In addition to performing duets with the most important musicians of the time, such as Enric Granados, Pau Casals, Antonin Dvorák and Richard Strauss, he was also conductor, music promoter and a music journalist. He was also spured the creation of an auditorium in Barcelona, which never finalized due to financial difficulties. He composed powerful works, especially opera, chamber and symphonic music, as well as sardanes and transcripts for violin. His compositions are post-romantic in style and with Richard Strauss as a reference. As a violinist, he was acclaimed for his technique, and as a conductor, for the orchestras and audiences for which he performed. He was also acclaimed for essays such as Mis experiencas (1944) and El violín (1958).

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Composer, violinist and director

Considered a child prodigy, he offered his first recital in Barcelona at seven years of age, having studied with Clemente Ibarguren and Frederic Balart. He toured America with ten years and soon became an internationally renowned performer. In addition to performing duets with the most important musicians of the time, such as Enric Granados, Pau Casals, Antonin Dvorák and Richard Strauss, he was also conductor, music promoter and a music journalist. He was also spured the creation of an auditorium in Barcelona, which never finalized due to financial difficulties. He composed powerful works, especially opera, chamber and symphonic music, as well as sardanes and transcripts for violin. His compositions are post-romantic in style and with Richard Strauss as a reference. As a violinist, he was acclaimed for his technique, and as a conductor, for the orchestras and audiences for which he performed. He was also acclaimed for essays such as Mis experiencas (1944) and El violín (1958).

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He studied at the Escola Municipal de Música of Barcelona with Enric Morera, Jaume Pahissa and Lluís Millet. The performances of the Orquestra Pau Casals made a great impact on him, particularly after seeing composers such as Sergei Prokofiev, Béla Bartók or Igor Stravinsky. Although he won a few prizes before the Civil War, it was Cinco canciones negras (1945) that made him internationally renowned. This work, together with others like Quarteto Indiano (1952), constituted the first period of his work, also known as “antillista”. Later, he developed more personal paths with works such as the Desintegració morfològica de la Chacona de Bach (1962) where he used avant-garde languages with a subjective perspective. His compositions became the most frequently performed Catalan music. He also did an important task as music critic for El mañana (1934-1937), Destino (1939-1975) and La Vanguardia (from 1962).

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He studied at the Escola Municipal de Música of Barcelona with Enric Morera, Jaume Pahissa and Lluís Millet. The performances of the Orquestra Pau Casals made a great impact on him, particularly after seeing composers such as Sergei Prokofiev, Béla Bartók or Igor Stravinsky. Although he won a few prizes before the Civil War, it was Cinco canciones negras (1945) that made him internationally renowned. This work, together with others like Quarteto Indiano (1952), constituted the first period of his work, also known as “antillista”. Later, he developed more personal paths with works such as the Desintegració morfològica de la Chacona de Bach (1962) where he used avant-garde languages with a subjective perspective. His compositions became the most frequently performed Catalan music. He also did an important task as music critic for El mañana (1934-1937), Destino (1939-1975) and La Vanguardia (from 1962).

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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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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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