Teatre Apol·lo de Barcelona

Historical Theatres and Concert Halls
Teatre Apol·lo de Barcelona
  • Alternative names:
    Teatro Apolo

    Year of establishment: 1904
    History:
    Es va inaugurar el 1904 en els terrenys de l'Avinguda del Paral·lel on ja hi havia una antiga barraca on es presentaven espectacles musicals. Es va especialitzar en espectacles de revista, music-hall i sarsuela. Va acollir importants estrenes de sarsuela com ara El trust de los tenorios (1910) de Josep Serrano (1910), El dictador (1923) de Rafael Millán o Las alondras (1923) de Jacinto Guerrero. Va ser en aquest teatre també on el 1946 va tenir lloc la primera representació teatral professional en català després de la guerra: El ferrer de tall de Frederic Soler, a la que li va seguir, el 1948, l'estrena del drama Ocells i llops de Josep Maria de Sagarra. En les dècades següents va centrar les activitats en la revista. L'antic teatre va ser enderrocat el 1991 per construir-ne un de nou que segueix en actiu.
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Soprano

Daughter of baritone Josep Capsir and soprano Ramona Vidal. She was admitted to the Conservatori del Liceu, where dhe studied under Joaquim Vidal i Nunell. In 1913 she made her debut in Girona and in 1914 she performed the role of Micaela in Carmen at the Gran Teatre del Liceu. Between 1916 and 1920, she performed at Teatro Real in Madrid, San Carlos in Lisbon, Colón in Buenos Aires, the Paris Opera, Apollo in Bologna and the Liceu in Barcelona, with roles such as La Traviata's Violeta and Rigoletto's Gilda.

In 1929, she made her debut at La Scala in Milan performing Rigoletto with Fleta and Toscanini. She travelled throughout Europe with a soprano leggero voice that stood out for its coloratura and high notes. She returned to Barcelona in the early 1930s. In 1949 she offered her last performance at the Liceu in Il matrimonio segreto. She taught until 1968 and often travelled to Italy, where she retired.

In the late 1920s she made several recordings and in 1944, she appeared in the film Retorno directed by Salvio Valenti.

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Soprano

Daughter of baritone Josep Capsir and soprano Ramona Vidal. She was admitted to the Conservatori del Liceu, where dhe studied under Joaquim Vidal i Nunell. In 1913 she made her debut in Girona and in 1914 she performed the role of Micaela in Carmen at the Gran Teatre del Liceu. Between 1916 and 1920, she performed at Teatro Real in Madrid, San Carlos in Lisbon, Colón in Buenos Aires, the Paris Opera, Apollo in Bologna and the Liceu in Barcelona, with roles such as La Traviata's Violeta and Rigoletto's Gilda.

In 1929, she made her debut at La Scala in Milan performing Rigoletto with Fleta and Toscanini. She travelled throughout Europe with a soprano leggero voice that stood out for its coloratura and high notes. She returned to Barcelona in the early 1930s. In 1949 she offered her last performance at the Liceu in Il matrimonio segreto. She taught until 1968 and often travelled to Italy, where she retired.

In the late 1920s she made several recordings and in 1944, she appeared in the film Retorno directed by Salvio Valenti.

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Composer

Based in Barcelona, he composed popular songs and dances during the second third of the 20th century, with special relevance during the 1940s. His wife, Mercedes Belenguer, collaborated as his lyricist. They signed many of the works under the names of J. Lito and M. Godoy, respectively.

Some of the most celebrated songs include Mi casita de papel, Yo quiero un TBO and Amor que viene cantando, popularized by renowned vocalists of the time such as Pepe Blanco, Jorge Sepúlveda and Carmen Morell. The couple's production included pieces in different dance styles: tangos, foxtrots, pasodobles and boleros.

Francisco Codoñer is also the author of stage music premiered in Barcelona: the revue Luz en las sombras (1925) at Gran Teatre del Bosc; the lyrical fantasia Me debes un beso (1954) at Teatre Apol·lo and the revue Dos amores vienen cantando (1955) at Teatre Poliorama.

 

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Composer

Based in Barcelona, he composed popular songs and dances during the second third of the 20th century, with special relevance during the 1940s. His wife, Mercedes Belenguer, collaborated as his lyricist. They signed many of the works under the names of J. Lito and M. Godoy, respectively.

Some of the most celebrated songs include Mi casita de papel, Yo quiero un TBO and Amor que viene cantando, popularized by renowned vocalists of the time such as Pepe Blanco, Jorge Sepúlveda and Carmen Morell. The couple's production included pieces in different dance styles: tangos, foxtrots, pasodobles and boleros.

Francisco Codoñer is also the author of stage music premiered in Barcelona: the revue Luz en las sombras (1925) at Gran Teatre del Bosc; the lyrical fantasia Me debes un beso (1954) at Teatre Apol·lo and the revue Dos amores vienen cantando (1955) at Teatre Poliorama.

 

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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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Comedian, dancer and burlesque singer

He began working in variety at Teatre Arnau in 1918 and performed recurrently at the Còmic, Victòria and Apol·lo theatres in Barcelona’s Paral·lel. He also frequented Madrid stages, making his debut in 1926 at Teatro Romea. He was known by the stage name Alady, he wore a tuxedo, bowler hat and white gloves, moving away from the traditional comic look. He performed in the music hall with a style close to Parisian chansonniers. His shows were very popular and included a dialogue of jokes with the audience, dance and parody. Around 1930, he toured different Spanish provinces with his own company, which brought together dancers, an animal tamer and an illusionist, and had Miguel Mihura as a collaborator. He took part in vaudeville shows such as La reina ha relliscat of the Santpere-Nolla company offered at the Teatre Espanyol in 1932. That same year he was hired again at the Romea in Madrid, when the military coup took place. The so-called ‘King of the Parallel’ played supporting roles in films such as Armand Guerra's El amor solfeando (1930)

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Comedian, dancer and burlesque singer

He began working in variety at Teatre Arnau in 1918 and performed recurrently at the Còmic, Victòria and Apol·lo theatres in Barcelona’s Paral·lel. He also frequented Madrid stages, making his debut in 1926 at Teatro Romea. He was known by the stage name Alady, he wore a tuxedo, bowler hat and white gloves, moving away from the traditional comic look. He performed in the music hall with a style close to Parisian chansonniers. His shows were very popular and included a dialogue of jokes with the audience, dance and parody. Around 1930, he toured different Spanish provinces with his own company, which brought together dancers, an animal tamer and an illusionist, and had Miguel Mihura as a collaborator. He took part in vaudeville shows such as La reina ha relliscat of the Santpere-Nolla company offered at the Teatre Espanyol in 1932. That same year he was hired again at the Romea in Madrid, when the military coup took place. The so-called ‘King of the Parallel’ played supporting roles in films such as Armand Guerra's El amor solfeando (1930)

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