Teatre Tívoli

Historical Theatres and Concert Halls
Teatre Tívoli
  • Alternative names:
    Jardins del Tívoli
    Jardins de la Nimfa

    Year of establishment: 1919
    History:
    Situat al carrer de Casp, és un dels teatres més grans de la ciutat. Va ser construït el 1918 i es va inaugurar el 1919 amb l'oratori Les estacions de F. J. Haydn interpretat per l'Orfeó Català. Es va convertir en una sala important de sarsuela i òpera, alhora que en teatre de text en llengua catalana. Va ser socialitzat de 1936 a 1939 com a seu de la companyia d'òpera del Teatre Tívoli. Després de la guerra va passar a ser una sala d’exhibició cinematogràfica. L'any 1982 va reobrir per tornar a l'activitat teatral. Actualment en actiu, la història d’aquest teatre va associada a noms mítics de l'escena (Sarah Bernhardt, Margarida Xirgu, Raquel Meller) i a veus com les de Miguel Fleta, Emili Vendrell o Hipòlit Lázaro. S’hi va estrenar a barcelona l'òpera María del Carmen (1899) d'Enric Granados i Merlín (1950) d'Isaac Albéniz en versió adaptada i traduïda.
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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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Composer and pedagogue

He was a choirboy at the cathedral of Barcelona, and studied with Mas Serracant and M. Socias (composition, organ and piano), and with Pedrell and Morera at the Escola Municipal. Later, he studied piano with J. Malats. He conducted various bands and choirs, he was organist and Kapellmeister at churches and schools, and conducted symphonic concerts and theatrical seasons at the Teatre Principal, the Teatre Líric Català and Tívoli in Barcelona. From 1910 he collaborated in religious music conferences and from 1930, he worked as a composer, improviser, organist and teacher of the Escola Professional de la Dona de la Diputació. In the 1940s, he directed the Granollers and Barcelona Music Schools and served as music censor at the Barcelona Bishopric. Together with A. Alonso and J. Zamacois, he wrote the well-known Método graduado de solfeo LAZ . He was considered one of the most prominent composers of religious music and received numerous awards.

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Composer and pedagogue

He was a choirboy at the cathedral of Barcelona, and studied with Mas Serracant and M. Socias (composition, organ and piano), and with Pedrell and Morera at the Escola Municipal. Later, he studied piano with J. Malats. He conducted various bands and choirs, he was organist and Kapellmeister at churches and schools, and conducted symphonic concerts and theatrical seasons at the Teatre Principal, the Teatre Líric Català and Tívoli in Barcelona. From 1910 he collaborated in religious music conferences and from 1930, he worked as a composer, improviser, organist and teacher of the Escola Professional de la Dona de la Diputació. In the 1940s, he directed the Granollers and Barcelona Music Schools and served as music censor at the Barcelona Bishopric. Together with A. Alonso and J. Zamacois, he wrote the well-known Método graduado de solfeo LAZ . He was considered one of the most prominent composers of religious music and received numerous awards.

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J.Tort i Daniel

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J.Tort i Daniel

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Composer

He studied with Anselm Barba and Josep Rodoreda. He was a choir conductor when, together with Enric Masriera, he founded and conducted the Associació Musical de Barcelona (1888). He was member and conductor of the Orfeó Català to which he added a girl section in 1886 (conducted by his wife Emerenciana Wehrle). Divergences with Lluís Millet led him to abandon the Orfeó Català and collaborate with Joan Gay in the foundation of the Institució Catalana de Música. Thus, he founded the Choir Jordiana-Orfeó Canigó Choir as an alternative to Millet’s project. Later, he was the director of a music school and founded the Orfeó de Begues. At this stage of his career, he also took part in the Teatre Líric Català seasons. He is a composer of choir, orchestra and stage music, such as Colometa la gitana, premiered at Teatre Tívoli in 1901. He was also renowned for his harmonizations of popular melodies and dances.

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Composer

He studied with Anselm Barba and Josep Rodoreda. He was a choir conductor when, together with Enric Masriera, he founded and conducted the Associació Musical de Barcelona (1888). He was member and conductor of the Orfeó Català to which he added a girl section in 1886 (conducted by his wife Emerenciana Wehrle). Divergences with Lluís Millet led him to abandon the Orfeó Català and collaborate with Joan Gay in the foundation of the Institució Catalana de Música. Thus, he founded the Choir Jordiana-Orfeó Canigó Choir as an alternative to Millet’s project. Later, he was the director of a music school and founded the Orfeó de Begues. At this stage of his career, he also took part in the Teatre Líric Català seasons. He is a composer of choir, orchestra and stage music, such as Colometa la gitana, premiered at Teatre Tívoli in 1901. He was also renowned for his harmonizations of popular melodies and dances.

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string(4) "3991" } } } ["field_teatres_i_auditoris_relaci"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(4) "3720" } } } ["field_centres_de_documentaci_"]=> array(0) { } ["field_urls_d_interes"]=> array(0) { } ["field_bibliografia"]=> array(0) { } ["field__udios_sense_fitxa"]=> array(0) { } ["field_np_noms_alternatius"]=> array(0) { } ["field_np_cognom_1"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(7) "Lapeyra" ["format"]=> NULL ["safe_value"]=> string(7) "Lapeyra" } } } ["field_np_cognom_2"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(6) "Rubert" ["format"]=> NULL ["safe_value"]=> string(6) "Rubert" } } } ["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) "1541504694" ["last_comment_name"]=> NULL ["last_comment_uid"]=> string(1) "5" ["comment_count"]=> string(1) "0" ["name"]=> string(5) "elena" ["picture"]=> string(1) "0" ["data"]=> NULL } } } ["field_field_np_cognom_1"]=> array(1) { [0]=> array(2) { ["rendered"]=> array(2) { ["#markup"]=> string(7) "Lapeyra" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(7) "Lapeyra" ["format"]=> NULL ["safe_value"]=> string(7) "Lapeyra" } } } } [3]=> object(stdClass)#250 (7) { ["node_title"]=> string(6) "Albert" ["nid"]=> string(4) "4044" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(6) "Martí" ["field_data_field_np_cognom_1_node_entity_type"]=> string(4) "node" ["_field_data"]=> array(1) { ["nid"]=> array(2) { ["entity_type"]=> string(4) "node" ["entity"]=> object(stdClass)#247 (53) { ["vid"]=> string(4) "4183" ["uid"]=> string(1) "5" ["title"]=> string(6) "Albert" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "4044" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1541513715" ["changed"]=> string(10) "1550575829" ["tnid"]=> string(3) "893" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1550575829" ["revision_uid"]=> string(1) "5" ["body"]=> array(0) { } ["field_g_nere"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(2) "21" } } } ["field_fotografia"]=> array(0) { } ["field_lloc_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(3) "892" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1883-01-13 00:00:00" ["timezone"]=> string(13) "Europe/Berlin" ["timezone_db"]=> string(13) "Europe/Berlin" ["date_type"]=> string(8) "datetime" } } } 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Tenora

He was trained in the cobla scene with Josep Vicens, 'Avi Xaxo', and studied clarinet at the Municipal School of Barcelona. He was tenora of La Principal de la Bisbal (1900-1922) and the Banda Municipal of Barcelona (1922) with Lamote de Grignon. Once in Barcelona, he founded Cobla Barcelona (1922-1929) and in 1929 the Cobla Albert Martí. Up until the Spianish Civil War he played the tenora in cobla ensembles and the clarinet in the Band Municipal in addition the the sporadic performance in the Barcelona Symphony Orchestra and the Pau Casals Orchestra. He was considered one of the greatest performers of tenora, having Pau Casals calling him "the king of the tenora". He composed some sardanes such as Lina, and some ballables. Several composers dedicated sardanes to him.

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Tenora

He was trained in the cobla scene with Josep Vicens, 'Avi Xaxo', and studied clarinet at the Municipal School of Barcelona. He was tenora of La Principal de la Bisbal (1900-1922) and the Banda Municipal of Barcelona (1922) with Lamote de Grignon. Once in Barcelona, he founded Cobla Barcelona (1922-1929) and in 1929 the Cobla Albert Martí. Up until the Spianish Civil War he played the tenora in cobla ensembles and the clarinet in the Band Municipal in addition the the sporadic performance in the Barcelona Symphony Orchestra and the Pau Casals Orchestra. He was considered one of the greatest performers of tenora, having Pau Casals calling him "the king of the tenora". He composed some sardanes such as Lina, and some ballables. Several composers dedicated sardanes to him.

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"4029" } } } ["field_teatres_i_auditoris_relaci"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(4) "3720" } } } ["field_centres_de_documentaci_"]=> array(0) { } ["field_urls_d_interes"]=> array(0) { } ["field_bibliografia"]=> array(0) { } ["field__udios_sense_fitxa"]=> array(0) { } ["field_np_noms_alternatius"]=> array(0) { } ["field_np_cognom_1"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(6) "Martí" ["format"]=> NULL ["safe_value"]=> string(6) "Martí" } } } ["field_np_cognom_2"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(8) "Galceran" ["format"]=> NULL ["safe_value"]=> string(8) "Galceran" } } } ["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) { 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string(1) "1" } ["cid"]=> string(1) "0" ["last_comment_timestamp"]=> string(10) "1541513715" ["last_comment_name"]=> NULL ["last_comment_uid"]=> string(1) "5" ["comment_count"]=> string(1) "0" ["name"]=> string(5) "elena" ["picture"]=> string(1) "0" ["data"]=> NULL } } } ["field_field_np_cognom_1"]=> array(1) { [0]=> array(2) { ["rendered"]=> array(2) { ["#markup"]=> string(6) "Martí" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(6) "Martí" ["format"]=> NULL ["safe_value"]=> string(6) "Martí" } } } } [4]=> object(stdClass)#251 (7) { ["node_title"]=> string(9) "Apel·les" ["nid"]=> string(4) "4058" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(7) "Mestres" ["field_data_field_np_cognom_1_node_entity_type"]=> string(4) "node" ["_field_data"]=> array(1) { ["nid"]=> array(2) { ["entity_type"]=> string(4) "node" ["entity"]=> object(stdClass)#255 (53) { ["vid"]=> string(4) "4197" ["uid"]=> string(1) "5" ["title"]=> 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Mainly known for his illustrations and drawings, he was also a prolific composer and author. He studied at the School of Fine Arts of La Llotja. From 1874 onwards, he collaborated with Rodoreda. He was involved with Claverian movements, and published one of Clavé's first biographies in 1876. In addition, he was a music critic and authored several narrative poems later used by composers of the Catalan Lyric Theater. Some of them were for example Enric Morera’s La viola d'or (1910), Enric Granados’s Picarol (1901), Follet (1903), Gaziel (1906) or Liliana (1911), and Sadurní’s Pierrot el lladre. After going blind by 1914, he composed hundreds of simple and intimate songs which were transcribed by Joan Massià and published as Cançons per infants (1923) and Madrigals (1926).

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Mainly known for his illustrations and drawings, he was also a prolific composer and author. He studied at the School of Fine Arts of La Llotja. From 1874 onwards, he collaborated with Rodoreda. He was involved with Claverian movements, and published one of Clavé's first biographies in 1876. In addition, he was a music critic and authored several narrative poems later used by composers of the Catalan Lyric Theater. Some of them were for example Enric Morera’s La viola d'or (1910), Enric Granados’s Picarol (1901), Follet (1903), Gaziel (1906) or Liliana (1911), and Sadurní’s Pierrot el lladre. After going blind by 1914, he composed hundreds of simple and intimate songs which were transcribed by Joan Massià and published as Cançons per infants (1923) and Madrigals (1926).

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Composer and conductor. He started as a self-taught musician while visiting Argentina. After returning to Barcelona, he studied with Pedrell, Tolosa and Vidiella, and later in Brussels with Philippe Fiévez (1885-1890). In 1890 he joined the orchestra of Gran Teatre del Liceu. In 1893 he premiered Dansa dels Gnoms and Introducció a l’Atlàntida at the Societat Catalana de Concerts. In 1895 he founded the Catalunya Nova choral society, giving a new impetus to the Clavé movement. He composed the opera La fada (1897) and the incidental music for Rusiñol’s L’alegria que passa (1898). In 1901, together with Gay and Granados, he organized the first Catalan teatre líric season. He offered El Comte Arnau (1905), La Santa Espina (1907), Emporium (1906) and Bruniselda (1906) at Liceu. In 1911 he was appointed Deputy Director of the Municipal Music School, where he influenced composers such as Pahissa and Montsalvatge. He composed some of the most frequently performed sardanas: Empordà, La sardana de les monges and La Santa Espina. He is considered a central figure of Catalan modernisme.

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Composer and conductor. He started as a self-taught musician while visiting Argentina. After returning to Barcelona, he studied with Pedrell, Tolosa and Vidiella, and later in Brussels with Philippe Fiévez (1885-1890). In 1890 he joined the orchestra of Gran Teatre del Liceu. In 1893 he premiered Dansa dels Gnoms and Introducció a l’Atlàntida at the Societat Catalana de Concerts. In 1895 he founded the Catalunya Nova choral society, giving a new impetus to the Clavé movement. He composed the opera La fada (1897) and the incidental music for Rusiñol’s L’alegria que passa (1898). In 1901, together with Gay and Granados, he organized the first Catalan teatre líric season. He offered El Comte Arnau (1905), La Santa Espina (1907), Emporium (1906) and Bruniselda (1906) at Liceu. In 1911 he was appointed Deputy Director of the Municipal Music School, where he influenced composers such as Pahissa and Montsalvatge. He composed some of the most frequently performed sardanas: Empordà, La sardana de les monges and La Santa Espina. He is considered a central figure of Catalan modernisme.

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Composer

Composer of lyrical theater that made impact thanks to his song Pel teu amor, which was part of an homonymous lyrical sainet with text by Miquel Poal Aregall, premiered at Teatre Tívoli in 1922. The song was popularized by Emili Vendrell.

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Composer

Composer of lyrical theater that made impact thanks to his song Pel teu amor, which was part of an homonymous lyrical sainet with text by Miquel Poal Aregall, premiered at Teatre Tívoli in 1922. The song was popularized by Emili Vendrell.

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Tenor

He began his music studies at the Escolania de Santa Maria del Mar in Barcelona ​​and later joined the Orfeó Català, where he studied with Lluís Millet and Assumpció Prades. He was born in a working-class family and was an idol of popular Catalanism in the 1920s and 1930s under the name of "the voice of the people". In 1921, he performed the evangelist's part in the first performance of Bach’s St Matthew Passion on the Iberian Peninsula. He debuted as zarzuela performer in 1922 with Don Joan de Serrallonga by Enric Morera and continued performing works by Guerrero or Amadeu Vives whose Doña Francisquita was performed around a thousand times. He also specialized in lieder performances in Catalan and of traditional Catalan songs like Rosó or L'emigrant. In addition, he sang some oratories, opera (El giravolt de maig) and symphonic repertoire. He wrote books such as El mestre Millet i jo and I and the singing manual El cant.

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Tenor

He began his music studies at the Escolania de Santa Maria del Mar in Barcelona ​​and later joined the Orfeó Català, where he studied with Lluís Millet and Assumpció Prades. He was born in a working-class family and was an idol of popular Catalanism in the 1920s and 1930s under the name of "the voice of the people". In 1921, he performed the evangelist's part in the first performance of Bach’s St Matthew Passion on the Iberian Peninsula. He debuted as zarzuela performer in 1922 with Don Joan de Serrallonga by Enric Morera and continued performing works by Guerrero or Amadeu Vives whose Doña Francisquita was performed around a thousand times. He also specialized in lieder performances in Catalan and of traditional Catalan songs like Rosó or L'emigrant. In addition, he sang some oratories, opera (El giravolt de maig) and symphonic repertoire. He wrote books such as El mestre Millet i jo and I and the singing manual El cant.

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