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Teatre Romea de Barcelona
Historical Theatres and Concert Halls
Teatre Romea de Barcelona
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Alternative names:
Teatre Català
Year of establishment: 1863
History:
Ubicat al barri del Raval de Barcelona, aquest Es va construir el 1863 al solar de l'antic convent de Sant Agustí Nou, al barri del Raval, on, segons sembla, abans ja hi havia hagut altres teatres (el Teatre de Sant Agustí i el Teatre de l'Hospital). Amb diferents intervencions arquitectòniques (1913, 1943 i 1964), el Romea és considerat el teatre més important en llengua catalana. Només durant el període comprès entre 1939-1945 es van deixar de representar obres teatrals en aquest idioma. Hi han actuat els actors i directors catalans més importants. Entre 1981 i 1998 va ser la seu del Centre Dramàtic de Catalunya, i actualment és gestionat per una empresa privada. Malgrat ser un espai molt centrat en el teatre de text, és aquí on Isaac Albéniz va fer el seu debut el 1864, amb quatre anys, i on es van estrenar La nit d'amor (1905), d’Enric Morera i text de Santiago Rusiñol, i Gaziel (1906), d'Enric Granados amb text d'Apel·les Mestres.
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Pianist and Composer
He started piano lessons with Narcís Oliveras. At about four years of age he debuted at Teatre Romea. In 1879, thanks to count Guillermo Morphy (secretary to King Alfonso XII), he obtained a royal grant to attend the Royal Conservatory of Brussels where he was awarded the first prize. He toured around Europe emulating F. Liszt and returned to Barcelona in 1883, where he studied composition under F. Pedrell. From 1890 to 1909 he travelled between Barcelona, London and Paris. During this period, he briefly taught at the Schola Cantorum (Paris, 1898-1900) where he was in contact with composers such as V. D’Indy, P. Dukas and G. Fauré, and had Déodat de Severac as a student.
Although he composed significant lyrical works (The magic Opal, 1893, Henry Clifford,1895, Pepita Jiménez, 1896, and Merlin, 1902) he is well known for his piano music and particularly for Iberia (1900), which is considered a central piece of the pianistic repertoire
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He started piano lessons with Narcís Oliveras. At about four years of age he debuted at Teatre Romea. In 1879, thanks to count Guillermo Morphy (secretary to King Alfonso XII), he obtained a royal grant to attend the Royal Conservatory of Brussels where he was awarded the first prize. He toured around Europe emulating F. Liszt and returned to Barcelona in 1883, where he studied composition under F. Pedrell. From 1890 to 1909 he travelled between Barcelona, London and Paris. During this period, he briefly taught at the Schola Cantorum (Paris, 1898-1900) where he was in contact with composers such as V. D’Indy, P. Dukas and G. Fauré, and had Déodat de Severac as a student.
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In 1914 she debuted at Cinema Teatre Ideal Park in Olot, and was quickly hired by the D'Onnini company. She subsequently moved to Barcelona where she studied composition and, together with his future husband Melquíadez Lucarelli, she founded a music school specializing in music hall and a record label. During the 1920s, she sang and released numerous cuplets that enjoyed great success. During this time,s he toured several European cities thanks to the Paramount Company. From 1928 onwards, she performed in Latin America under the name Alba and she obtained Argentinian citizenship. After separating from Lucarelli (1929) she settled in Brazil together with the artist and industrialist Luiz Fossati. She abandoned her artistic career until her return to Catalonia (1968). She composed well-known cuplets in Catalan such as Les caramelles, Marieta de l'ull viu or Baixant de la font del gat (which was popularized by Raquel Meller).
Composer and cupletista
In 1914 she debuted at Cinema Teatre Ideal Park in Olot, and was quickly hired by the D'Onnini company. She subsequently moved to Barcelona where she studied composition and, together with his future husband Melquíadez Lucarelli, she founded a music school specializing in music hall and a record label. During the 1920s, she sang and released numerous cuplets that enjoyed great success. During this time,s he toured several European cities thanks to the Paramount Company. From 1928 onwards, she performed in Latin America under the name Alba and she obtained Argentinian citizenship. After separating from Lucarelli (1929) she settled in Brazil together with the artist and industrialist Luiz Fossati. She abandoned her artistic career until her return to Catalonia (1968). She composed well-known cuplets in Catalan such as Les caramelles, Marieta de l'ull viu or Baixant de la font del gat (which was popularized by Raquel Meller).
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00:00:00" ["timezone"]=> string(13) "Europe/Berlin" ["timezone_db"]=> string(13) "Europe/Berlin" ["date_type"]=> string(8) "datetime" } } } ["field_data_mort"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1888-09-02 00:00:00" ["timezone"]=> string(13) "Europe/Berlin" ["timezone_db"]=> string(13) "Europe/Berlin" ["date_type"]=> string(8) "datetime" } } } ["field_lloc_mort"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(2) "91" } } } ["field_tipus_de_persona"]=> array(1) { ["und"]=> array(2) { [0]=> array(1) { ["target_id"]=> string(2) "22" } [1]=> array(1) { ["target_id"]=> string(2) "24" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(587) "Conductor, tenor, guitarist and composer
He began his studies at the Escolania de la Mercè in Barcelona. Soon after, he started his international career as guitarist. He took the musical direction of Teatre Principal in Barcelona in the 1860-1861 season and later, that of Teatro de los Campos Elíseos in Madrid. He conducted the orchestras of Liceu, Romea and the Circo in Barcelona, and that of the Teatre Principal in Valencia. He composed zarzuelas (e.g. Don Ruperto Culebrinas) and music for guitar and piano.
Conductor, tenor, guitarist and composer
He began his studies at the Escolania de la Mercè in Barcelona. Soon after, he started his international career as guitarist. He took the musical direction of Teatre Principal in Barcelona in the 1860-1861 season and later, that of Teatro de los Campos Elíseos in Madrid. He conducted the orchestras of Liceu, Romea and the Circo in Barcelona, and that of the Teatre Principal in Valencia. He composed zarzuelas (e.g. Don Ruperto Culebrinas) and music for guitar and piano.
" } } } ["field_ciutats_relacionades"]=> array(1) { ["und"]=> array(3) { [0]=> array(1) { ["target_id"]=> string(2) "91" } [1]=> array(1) { ["target_id"]=> string(3) "163" } [2]=> array(1) { ["target_id"]=> string(3) "231" } } } ["field_associat_al_fons_del_museu"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["value"]=> string(1) "0" } } } ["field_domini_public"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["value"]=> string(1) "0" } } } ["field_patrimoni_musical_catal_"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["value"]=> string(1) "0" } } } ["field_obres"]=> array(0) { } ["field_institucions_i_formacions_"]=> array(1) { ["und"]=> array(2) { [0]=> array(1) { ["target_id"]=> string(4) "3690" } [1]=> array(1) { ["target_id"]=> string(4) "3687" } } } ["field_noms_propis_relacionats"]=> array(0) { } ["field_teatres_i_auditoris_relaci"]=> array(1) { ["und"]=> array(4) { [0]=> array(1) { ["target_id"]=> string(4) "3717" } [1]=> array(1) { ["target_id"]=> string(4) "3693" } [2]=> array(1) { ["target_id"]=> string(4) "3718" } [3]=> array(1) { ["target_id"]=> string(4) "3706" } } } ["field_centres_de_documentaci_"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(4) "3608" } } } ["field_urls_d_interes"]=> array(0) { } ["field_bibliografia"]=> array(0) { } ["field__udios_sense_fitxa"]=> array(0) { } ["field_np_noms_alternatius"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(5) "José" ["format"]=> NULL ["safe_value"]=> string(5) "José" } } } ["field_np_cognom_1"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(6) "Viñas" ["format"]=> NULL ["safe_value"]=> string(6) "Viñas" } } } ["field_np_cognom_2"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(5) "Díaz" ["format"]=> NULL ["safe_value"]=> string(5) "Díaz" } } } ["field_np_alies"]=> array(0) { } ["field_np_cr_dit_fotografia"]=> array(0) { } ["rdf_mapping"]=> array(9) { ["rdftype"]=> array(2) { [0]=> string(9) "sioc:Item" [1]=> string(13) "foaf:Document" } ["title"]=> array(1) { ["predicates"]=> array(1) { [0]=> string(8) "dc:title" } } ["created"]=> array(3) { ["predicates"]=> array(2) { [0]=> string(7) "dc:date" [1]=> string(10) "dc:created" } ["datatype"]=> string(12) "xsd:dateTime" ["callback"]=> string(12) "date_iso8601" } ["changed"]=> array(3) { ["predicates"]=> array(1) { [0]=> string(11) "dc:modified" } ["datatype"]=> string(12) "xsd:dateTime" ["callback"]=> string(12) "date_iso8601" } ["body"]=> array(1) { ["predicates"]=> array(1) { [0]=> string(15) "content:encoded" } } ["uid"]=> array(2) { ["predicates"]=> array(1) { [0]=> string(16) "sioc:has_creator" } ["type"]=> string(3) "rel" } ["name"]=> array(1) { ["predicates"]=> array(1) { [0]=> string(9) "foaf:name" } } ["comment_count"]=> array(2) { ["predicates"]=> array(1) { [0]=> string(16) "sioc:num_replies" } ["datatype"]=> string(11) "xsd:integer" } ["last_activity"]=> array(3) { ["predicates"]=> array(1) { [0]=> string(23) "sioc:last_activity_date" } ["datatype"]=> string(12) "xsd:dateTime" ["callback"]=> string(12) "date_iso8601" } } ["path"]=> array(1) { ["pathauto"]=> string(1) "1" } ["cid"]=> string(1) "0" ["last_comment_timestamp"]=> string(10) "1540472331" ["last_comment_name"]=> NULL ["last_comment_uid"]=> string(1) "5" ["comment_count"]=> string(1) "0" ["name"]=> string(4) "crg1" ["picture"]=> string(1) "0" ["data"]=> string(189) "a:6:{s:16:"ckeditor_default";s:1:"t";s:20:"ckeditor_show_toggle";s:1:"t";s:14:"ckeditor_width";s:4:"100%";s:13:"ckeditor_lang";s:2:"en";s:18:"ckeditor_auto_lang";s:1:"t";s:7:"contact";i:0;}" } } } ["field_field_np_cognom_1"]=> array(1) { [0]=> array(2) { ["rendered"]=> array(2) { ["#markup"]=> string(6) "Viñas" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(6) "Viñas" ["format"]=> NULL ["safe_value"]=> string(6) "Viñas" } } } } }
T. 93 256 36 50
Carrer de Lepant 150, 08013 Barcelona
mail: patrimonimusical@auditori.cat