Teatre Novedades

Historical Theatres and Concert Halls
Teatre Novedades
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Soprano

She debuted with fifteen years of age at Teatre Novetats (Barcelona) in Meyerbeer's L'Africaine. She completed her musical education (violin, piano and singing) in Milan where she debuted in 1900 at Teatro alla Scala. She performed at the most important opera houses in Europe. In 1916, she performed Donizetti's Lucia di Lammermoor at the Metropolitan Opera House in New York. It was at the Teatro Colón in Buenos Aires where he achieved her greatest success singing the entire repertoire for soprano leggero. She performed Lakmé by Delibes at the Gran Teatre del Liceu in 1915, and L'eterna by Enric Granados at Palau de la Música Catalana (dedicated to her by the composer). In 1924, she left the stage to devote herself exclusively to recitals. In 1930, Manuel de Falla chose her to record Siete Canciones Españolas. She was appointed professor of singing at Teatro Colón.

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Soprano

She debuted with fifteen years of age at Teatre Novetats (Barcelona) in Meyerbeer's L'Africaine. She completed her musical education (violin, piano and singing) in Milan where she debuted in 1900 at Teatro alla Scala. She performed at the most important opera houses in Europe. In 1916, she performed Donizetti's Lucia di Lammermoor at the Metropolitan Opera House in New York. It was at the Teatro Colón in Buenos Aires where he achieved her greatest success singing the entire repertoire for soprano leggero. She performed Lakmé by Delibes at the Gran Teatre del Liceu in 1915, and L'eterna by Enric Granados at Palau de la Música Catalana (dedicated to her by the composer). In 1924, she left the stage to devote herself exclusively to recitals. In 1930, Manuel de Falla chose her to record Siete Canciones Españolas. She was appointed professor of singing at Teatro Colón.

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Narcís Fita, sarsuela, P. Solana, Societat Euterpense Clavé

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Narcís Fita, sarsuela, P. Solana, Societat Euterpense Clavé

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Composer and pianist

He began his studies with his uncle Narcís Fita (organ) and with P. Solana (violin). He played the piano at cafes and conducted the choir Erato. At the age of thirteen he joined the Orquesta Figueras, where he began composing ballables. In 1888 he moved to Barcelona where he was a pianist-conductor in several renowned theatres. There, he also founded Orquestra Cotó together with some lecturers at Liceu, and toured around Europe. He created a type of staged revista called Portofolios Musicales. From 1878, he became famous for composing hundreds of dance pieces (the so-called 19th-century dances and americanas), which were performed by orchestras throughout Catalonia. He continued to compose small stage music with success, as well as works for male choirs, sardanes and easy piano pieces. His composition has been compared to that of other contemporary European composers, and especially to that of Johann Strauss the Son.

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Composer and pianist

He began his studies with his uncle Narcís Fita (organ) and with P. Solana (violin). He played the piano at cafes and conducted the choir Erato. At the age of thirteen he joined the Orquesta Figueras, where he began composing ballables. In 1888 he moved to Barcelona where he was a pianist-conductor in several renowned theatres. There, he also founded Orquestra Cotó together with some lecturers at Liceu, and toured around Europe. He created a type of staged revista called Portofolios Musicales. From 1878, he became famous for composing hundreds of dance pieces (the so-called 19th-century dances and americanas), which were performed by orchestras throughout Catalonia. He continued to compose small stage music with success, as well as works for male choirs, sardanes and easy piano pieces. His composition has been compared to that of other contemporary European composers, and especially to that of Johann Strauss the Son.

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Tenor

He studied music whilst working as a labourer and cart driver. In 1906 he debuted in Olot with Marina by E. Arrieta and in 1910 at the Teatre Novetats with La favorita by G. Donizetti. He moved to Milan where he continued his studies. After a short stay in England where he sang under the stage name of Antonio Manuele, he was engaged by Pietro Mascagni to perform at his opera Isabeau at the Teatro Alla Scala (1913). The same year he debuted at the Liceu, in 1918 at the Metropolitan of New York (where he was a rival to Caruso) and in 1922 at the Teatro Real in Madrid. He became one of the greatest voices of his time, highly valued for his timbre and vocal range. He premiered works by composers such as Mascagni (Il piccolo Marat, 1921), Giordano (El cena delle beffe, 1924) or Jordi Gaig (El estudiante de Salamanca, 1935). From 1944 onwards, he occasionally took on the artistic direction of the Gran Teatre del Liceu until he retired from the stage in 1950 and moved to Havana. In 1947 he published his memoires (Memorias) and a singing handbook (Mi método de canto).

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Tenor

He studied music whilst working as a labourer and cart driver. In 1906 he debuted in Olot with Marina by E. Arrieta and in 1910 at the Teatre Novetats with La favorita by G. Donizetti. He moved to Milan where he continued his studies. After a short stay in England where he sang under the stage name of Antonio Manuele, he was engaged by Pietro Mascagni to perform at his opera Isabeau at the Teatro Alla Scala (1913). The same year he debuted at the Liceu, in 1918 at the Metropolitan of New York (where he was a rival to Caruso) and in 1922 at the Teatro Real in Madrid. He became one of the greatest voices of his time, highly valued for his timbre and vocal range. He premiered works by composers such as Mascagni (Il piccolo Marat, 1921), Giordano (El cena delle beffe, 1924) or Jordi Gaig (El estudiante de Salamanca, 1935). From 1944 onwards, he occasionally took on the artistic direction of the Gran Teatre del Liceu until he retired from the stage in 1950 and moved to Havana. In 1947 he published his memoires (Memorias) and a singing handbook (Mi método de canto).

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After withdrawing from an architecture degree, he began studying music under Francesc Laporta (piano) and later under Enric Morera (composition). Thanks to the incidental music of La presó de Lleida (1906), with Adrià Gual's text, he was introduced to artistic circles of modernistes. He premiered La Morisca (1919), Marianela (1923) and La princesa Margarida (1928) at the Gran Teatre del Liceu. He is known for his Suite Intertonal (1926), where he experimented with polytonaity and atonalism. In the 1930s he developed his teaching career: he became a teacher at the Liceu Conservatory and the Escola Municipal of Music (replacing Morera) and wrote pedagogical works. In 1937, he went into exile in Buenos Aires, where he devoted himself to teaching, musicology and orchestral conducting. He composed the Cantata a la tumba de Federico García Lorca, arranged Catalan folk music and premiered the opera Marianela at Teatro Colón (1946). He wrote Los grandes problemas de la música (1945) and the first biography of Falla (1947).

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After withdrawing from an architecture degree, he began studying music under Francesc Laporta (piano) and later under Enric Morera (composition). Thanks to the incidental music of La presó de Lleida (1906), with Adrià Gual's text, he was introduced to artistic circles of modernistes. He premiered La Morisca (1919), Marianela (1923) and La princesa Margarida (1928) at the Gran Teatre del Liceu. He is known for his Suite Intertonal (1926), where he experimented with polytonaity and atonalism. In the 1930s he developed his teaching career: he became a teacher at the Liceu Conservatory and the Escola Municipal of Music (replacing Morera) and wrote pedagogical works. In 1937, he went into exile in Buenos Aires, where he devoted himself to teaching, musicology and orchestral conducting. He composed the Cantata a la tumba de Federico García Lorca, arranged Catalan folk music and premiered the opera Marianela at Teatro Colón (1946). He wrote Los grandes problemas de la música (1945) and the first biography of Falla (1947).

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Composer, conductor and pedagogue 

He was a pupil of Nicolau Manent in the choir of the Verge del Remei of Barcelona. In 1875, he was appointed piano accompaniment and solfège teacher at the Liceu Conservatory, where he worked until 1883. In 1876, he was appointed director of Societat Coral Euterpe and in 1883 he was appointed conductor of the music academy of the Casa de la Caritat. From 1886 onwards, he was the conductor of the Municipal Band of Barcelona and conductor of the Municipal School of Music of Barcelona. In 1896, he moved to Donostia to conduct the band and the music school and in 1906 he settled in Buenos Aires, where he was the director of the Thibaud-Piazzini Conservatory. He composed almost 300 compositions, such as Primavera (1883) for orchestra, the dramatic idyll La nit al bosc (1883) by Apel·les Mestres and the oratorio Les set paraules (1875). He is best known as the composer of Virolai, hymn to the Virgin of Montserrat with the text by Jacint Verdaguer, and for being part of the Catalan delegation of the Board of the Bayreuth Festival.

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Composer, conductor and pedagogue 

He was a pupil of Nicolau Manent in the choir of the Verge del Remei of Barcelona. In 1875, he was appointed piano accompaniment and solfège teacher at the Liceu Conservatory, where he worked until 1883. In 1876, he was appointed director of Societat Coral Euterpe and in 1883 he was appointed conductor of the music academy of the Casa de la Caritat. From 1886 onwards, he was the conductor of the Municipal Band of Barcelona and conductor of the Municipal School of Music of Barcelona. In 1896, he moved to Donostia to conduct the band and the music school and in 1906 he settled in Buenos Aires, where he was the director of the Thibaud-Piazzini Conservatory. He composed almost 300 compositions, such as Primavera (1883) for orchestra, the dramatic idyll La nit al bosc (1883) by Apel·les Mestres and the oratorio Les set paraules (1875). He is best known as the composer of Virolai, hymn to the Virgin of Montserrat with the text by Jacint Verdaguer, and for being part of the Catalan delegation of the Board of the Bayreuth Festival.

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Composer, conductor and author

He began his studies with Josep Ribera in the choir of the chapel of Santa Anna in Barcelona, ​​and continued with Felip Pedrell. In 1891, together with Lluís Millet, he founded the Orfeó Català, the choir for whom he composed works such as L'Emigrant (1893). In 1896, he conducted the choir of Teatre Novetats and in 1898, he settled in Madrid and developed a career as zarzuela composer. In 1904, he premiered Bohemios, one of his most acclaimed titles within género chico. From 1907 onwards, he led Teatro de la Zarzuela and turned it into a benchmark for zarzuela. He composed a large number of zarzuelas that stand out for their great lyricism. He directed the Apolo Theater, where he premiered Doña Francisquita (1923), one of his greatest achievements. From 1922 onwards, he was professor of composition at the Conservatorio de Madrid. He was always connected to Barcelona, where he had a massive funeral at Palau de la Música Catalana. He wrote several essays and the comedy Jo no sabia que el món era així (1929).

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Composer, conductor and author

He began his studies with Josep Ribera in the choir of the chapel of Santa Anna in Barcelona, ​​and continued with Felip Pedrell. In 1891, together with Lluís Millet, he founded the Orfeó Català, the choir for whom he composed works such as L'Emigrant (1893). In 1896, he conducted the choir of Teatre Novetats and in 1898, he settled in Madrid and developed a career as zarzuela composer. In 1904, he premiered Bohemios, one of his most acclaimed titles within género chico. From 1907 onwards, he led Teatro de la Zarzuela and turned it into a benchmark for zarzuela. He composed a large number of zarzuelas that stand out for their great lyricism. He directed the Apolo Theater, where he premiered Doña Francisquita (1923), one of his greatest achievements. From 1922 onwards, he was professor of composition at the Conservatorio de Madrid. He was always connected to Barcelona, where he had a massive funeral at Palau de la Música Catalana. He wrote several essays and the comedy Jo no sabia que el món era així (1929).

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