Teatre de Girona

Historical Theatres and Concert Halls
Teatre de Girona
  • Alternative names:
    Teatre Municipal

    Year of establishment: 1858
    History:

    Va ser construït entre 1858 i 1860 per l'arquitecte municipal Martí Sureda per tal de substituir l'antic Teatre de Comèdies (1769), ubicat a l'Edifici del Pallol. El primer nom oficial va ser Teatro de la Reina, i la inauguració de 1860 va anar a càrrec de la companyia de Joaquim Ferrer amb La Traviata de G. Verdi. Va oferir programació d'òpera italiana, amb períodes de companyia estable, i els espectacles aleshores més innovadors: la màgia, les ombres xineses i la sarsuela, a més de programar teatre de text, concerts i recitals de música. Va ser col·lectivitzat en els anys de 1936-1939 pel Comitè Econòmic d'Espectacles Públics, època en què es van programar obres de caràcter pedagògic i llibertari d'enaltiment a la revolució. L'any 1939 l’ajuntament de la ciutat en va recuperar la titularitat, si bé en va subhastar la gestió, amb el resultat de programacions notablement eclèctiques. L'any 1975 un seguit d'activistes culturals i el grup Proscènium van impulsar-hi una programació teatral innovadora. Tancat l'any 1999 per reformes, el 2006 va reobrir les portes.


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romanticisme, F. Berini (estrena director Stabat Mater)

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Composer

He was descendant of a noble family. He studied organ at the Jesuits's School in Nice and law in Bologna. In the mid-1840s, he moved to Barcelona and studied with Barba. He premiered a Stabat Mater at the Casino Filharmònic. He became one of the largest landowners in Empordà, alternating his residence between La Bisbal and Barcelona. His compositions were mainly intended for social gatherings of the aristocracy and bourgeoisie and included ballables and songs for voice and piano. The rest of his surviving output includes mainly sacred music. A zarzuela, two keyboard symphonies and the opera Giuditta (1855) with a libretto by Solera have been lost. Ferrer's life and music puts forward musical forms of sociability in nineteenth-century Catalonia.

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Composer

He was descendant of a noble family. He studied organ at the Jesuits's School in Nice and law in Bologna. In the mid-1840s, he moved to Barcelona and studied with Barba. He premiered a Stabat Mater at the Casino Filharmònic. He became one of the largest landowners in Empordà, alternating his residence between La Bisbal and Barcelona. His compositions were mainly intended for social gatherings of the aristocracy and bourgeoisie and included ballables and songs for voice and piano. The rest of his surviving output includes mainly sacred music. A zarzuela, two keyboard symphonies and the opera Giuditta (1855) with a libretto by Solera have been lost. Ferrer's life and music puts forward musical forms of sociability in nineteenth-century Catalonia.

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Soprano
 
She studied in Barcelona with Obiols. In 1839, when he was sixteen, he performed and premiered operas by Donizetti, Mercadante and Pacini at the Liceu Filodramàtic del Montsió (later Gran Teatre del Liceu). Four years later, she performed at Teatre Principal until 1851. That very same season, she debuted at Gran Teatre del Liceu where she performed until 1859. She married Joaquim Ferrer, the businessman who was responsible for the first lyrical season of the Teatre de Girona (inaugurated in 1860). She performed in that theater for the last show of the season and remained there until June 1861. In 1864 she moved to Madrid to perform at Teatro Rossini and achieved a remarkable success. This was the starting point of her performances across the Iberian Peninsula.

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Soprano
 
She studied in Barcelona with Obiols. In 1839, when he was sixteen, he performed and premiered operas by Donizetti, Mercadante and Pacini at the Liceu Filodramàtic del Montsió (later Gran Teatre del Liceu). Four years later, she performed at Teatre Principal until 1851. That very same season, she debuted at Gran Teatre del Liceu where she performed until 1859. She married Joaquim Ferrer, the businessman who was responsible for the first lyrical season of the Teatre de Girona (inaugurated in 1860). She performed in that theater for the last show of the season and remained there until June 1861. In 1864 she moved to Madrid to perform at Teatro Rossini and achieved a remarkable success. This was the starting point of her performances across the Iberian Peninsula.

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