Teatre Espanyol

Historical Theatres and Concert Halls
Teatre Espanyol
  • Alternative names:
    BARTS, Barcelona Arts on Stage
    Circo Español Modelo

    Year of establishment: 1892
    History:
    Ubicat a l'Avinguda del Paral·lel de Barcelona, aquest espai teatral ha tingut diverses denominacions. Va començar l’activitat el 1892 amb exhibició d'acrobàcies i de gimnàstica en un teatre de fusta, però el 1907 un incendi va fer possible la construcció d'un teatre dissenyat per l'arquitecte Melcior Viñals. Des d’aleshores va destacar en la programació de vodevils i sarsueles, i també d’un gènere musical denominat «tragicomèdia popular» amb títols com Baixant de la font del gat - La marieta de l'ull viu d’Amichatis i G. A. Màntua. Va programar activitats teatrals fins el 1980. Després va ser una discoteca i el 2006 va ser adquirit per la Societat General d'Autors d'Espanya que el va reconvertir en teatre. Des del 2012 porta el nom de BARTS.
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Flamenco dancer

Daughter of Miguel Borrull Castellón. In 1910, promoted by her father in Madrid’s variety halls, she began dancing flamenco with her sister Isabel, adopting the stage name ‘Las Hermanas Borrull’ or ‘Las Egipcias’. The sisters made their debut a year later at the Teatre Arnau in Barcelona. In 1912, their success made it possible for them to perform for a few months at the flamenco restaurant La Feria in Paris.

Between 1913 and 1915, she embarked on a successful solo tour of different Spanish cities. In 1915, the family moved to Barcelona where she ran the Café Villa Rosa from 1916. At the same time, she performed in theatres in Barcelona and throughout the country, including Sala Imperio (Barcelona), Teatre Eslava (Valencia), Teatro de la Zarzuela (Madrid) and the Kursaal (Melilla).

She took over the direction of the family-run Café Villa Rosa in 1926. In 1934, she took part in the premiere of the flamenco comedy La zambra by Chorro Jumo at the Teatre Poliorama.

Julio Romero de Torres captured the dancer in the painting Alegrías (1917).

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Flamenco dancer

Daughter of Miguel Borrull Castellón. In 1910, promoted by her father in Madrid’s variety halls, she began dancing flamenco with her sister Isabel, adopting the stage name ‘Las Hermanas Borrull’ or ‘Las Egipcias’. The sisters made their debut a year later at the Teatre Arnau in Barcelona. In 1912, their success made it possible for them to perform for a few months at the flamenco restaurant La Feria in Paris.

Between 1913 and 1915, she embarked on a successful solo tour of different Spanish cities. In 1915, the family moved to Barcelona where she ran the Café Villa Rosa from 1916. At the same time, she performed in theatres in Barcelona and throughout the country, including Sala Imperio (Barcelona), Teatre Eslava (Valencia), Teatro de la Zarzuela (Madrid) and the Kursaal (Melilla).

She took over the direction of the family-run Café Villa Rosa in 1926. In 1934, she took part in the premiere of the flamenco comedy La zambra by Chorro Jumo at the Teatre Poliorama.

Julio Romero de Torres captured the dancer in the painting Alegrías (1917).

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Lyrical basso and music promoter

His parents settled in Barcelona in 1908 and he was soon drawn into singing by listening to Emili Sagi i Barba. He studied singing at the Conservatori del Liceu and received classes from Lluís Canalda. In 1930 he made his debut in the Sala Olimpia with La favorita, accompanying Hipòlit Lázaro.In 1935, after a four-year training in Milan, he obtained a position at Liceu and sang Rigoletto, La forza del destino and Aida, a repertoire he also performed at the Teatro Calderón in Madrid, with Fleta and Volpi.LyIn 1940, at the express request of Sorozábal, he took part in the premiere of La Tabernera del Puerto in Madrid and continued the season at the Calderón performing with Mercè Capsir. In the following years, he focused on zarzuela and premiered titles such as Marina, La eterna canción, Adiós a la bohemia and Cançó d'amor i de guerra. He accompanied Sorozábal on a tour through Spain, Argentina and Uruguay and in 1948, he founded his own company. He left the stage in 1973, having perfored Don Gil de Alcalá de Penella at Teatre Espanyol in Barcelona

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Lyrical basso and music promoter

His parents settled in Barcelona in 1908 and he was soon drawn into singing by listening to Emili Sagi i Barba. He studied singing at the Conservatori del Liceu and received classes from Lluís Canalda. In 1930 he made his debut in the Sala Olimpia with La favorita, accompanying Hipòlit Lázaro.In 1935, after a four-year training in Milan, he obtained a position at Liceu and sang Rigoletto, La forza del destino and Aida, a repertoire he also performed at the Teatro Calderón in Madrid, with Fleta and Volpi.LyIn 1940, at the express request of Sorozábal, he took part in the premiere of La Tabernera del Puerto in Madrid and continued the season at the Calderón performing with Mercè Capsir. In the following years, he focused on zarzuela and premiered titles such as Marina, La eterna canción, Adiós a la bohemia and Cançó d'amor i de guerra. He accompanied Sorozábal on a tour through Spain, Argentina and Uruguay and in 1948, he founded his own company. He left the stage in 1973, having perfored Don Gil de Alcalá de Penella at Teatre Espanyol in Barcelona

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l'humorista Rafael Arcos, el cantant còmic Carlos Hidalgo Baldomero, Rafaelito Díaz El negrito.

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l'humorista Rafael Arcos, el cantant còmic Carlos Hidalgo Baldomero, Rafaelito Díaz El negrito.

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Cupletista

In the 1910s, she began performing in theaters of Barcelona. Already under the name of La Goyita, she consolidated her success in 1912, performing in renowned theaters in Barcelona, Valencia and Madrid. Later on, she formed collaborated with several comedians and singers. She became one of the most prominent cupletistes of the 1920's of the Paral·lel’s show industry (Barcelona). She remained active until the 1950s, when she abandoned the stage. Some of her performances are considered among the most popular of the genre, for example Amor de muñecos and Mi Luis, as well as, La Mare i La dona de tothom in Catalan.

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Cupletista

In the 1910s, she began performing in theaters of Barcelona. Already under the name of La Goyita, she consolidated her success in 1912, performing in renowned theaters in Barcelona, Valencia and Madrid. Later on, she formed collaborated with several comedians and singers. She became one of the most prominent cupletistes of the 1920's of the Paral·lel’s show industry (Barcelona). She remained active until the 1950s, when she abandoned the stage. Some of her performances are considered among the most popular of the genre, for example Amor de muñecos and Mi Luis, as well as, La Mare i La dona de tothom in Catalan.

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