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Teatre Tívoli
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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.
Flamenco dancer
Daughter of Miguel Borrull Castellón. In 1912 she made her debut with his family at the Parisian club La Feria. She performed at the Café Villa Rosa, the family's Barcelona venue. She also performed at theatres such as Eldorado (1917, 1925), Novedades (1919) and Còmic (1921) in Barcelona, Romea and Comedia (1917) in Madrid, and Eslava (1915), Villa Rosa (1931) and Apol·lo (1932) in Valencia, where the press called her ‘the queen of gypsy dance’. In 1929 she took part in the premiere of the flamenco comedy La zambra del Sacro-Monte at the Teatre Nou in Barcelona. That same year, she also took part in Los flamencos, a lyrical sainete with music by Amadeu Vives premiered at Teatre Tívoli. In 1933 she collaborated with the company of Laura de Santelmo at the Gran Teatre del Liceu, in Falla’s opera La vida breve and in the gitanería El amor brujo. The following year, she performed with his sister Julia in the flamenco comedy La zambra del Chorro Jumo. FlFrom the 1940s onwards, she was described as the queen of alegrías and was a flamenco dance teacher at the school
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Daughter of Miguel Borrull Castellón. In 1912 she made her debut with his family at the Parisian club La Feria. She performed at the Café Villa Rosa, the family's Barcelona venue. She also performed at theatres such as Eldorado (1917, 1925), Novedades (1919) and Còmic (1921) in Barcelona, Romea and Comedia (1917) in Madrid, and Eslava (1915), Villa Rosa (1931) and Apol·lo (1932) in Valencia, where the press called her ‘the queen of gypsy dance’. In 1929 she took part in the premiere of the flamenco comedy La zambra del Sacro-Monte at the Teatre Nou in Barcelona. That same year, she also took part in Los flamencos, a lyrical sainete with music by Amadeu Vives premiered at Teatre Tívoli. In 1933 she collaborated with the company of Laura de Santelmo at the Gran Teatre del Liceu, in Falla’s opera La vida breve and in the gitanería El amor brujo. The following year, she performed with his sister Julia in the flamenco comedy La zambra del Chorro Jumo. FlFrom the 1940s onwards, she was described as the queen of alegrías and was a flamenco dance teacher at the school
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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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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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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.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1007) "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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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.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(961) "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(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(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(7) "Lapeyra" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(7) "Lapeyra" ["format"]=> NULL ["safe_value"]=> string(7) "Lapeyra" } } } } [4]=> object(stdClass)#259 (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) 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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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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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He studied solfeggio with Josep Rodoreda, music theory with Joan Lamote de Grignon and piano with Joan B. Pellicer at the Escola Municipal de Música in Barcelona. From early on, he became interested in music management and artistic direction, and he organized operatic performances in the Barcelona Granvia and Tívoli theatres.
In 1915, after a stay in Lisbon in which he ran the Teatro Coliseu, he returned to Barcelona and worked as a businessman and artistic director of the Gran Teatre del Liceu during the periods 1915-16, 1918-30, 1934-37 and 1939- 47. His open-mindedness let him to renew Liceu’s programming by introducing Mozart’s operas and Russian, French and Catalan repertoire, thus incorporating premieres without abandoning the canonical repertoire.
Under his tutelage, the Liceu remained a leading lyrical theatre in the international scene. He related his professional experiences in El Gran Teatro del Liceo visto por su empresario published in 1945.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1034) "Artistic entrepreneur
He studied solfeggio with Josep Rodoreda, music theory with Joan Lamote de Grignon and piano with Joan B. Pellicer at the Escola Municipal de Música in Barcelona. From early on, he became interested in music management and artistic direction, and he organized operatic performances in the Barcelona Granvia and Tívoli theatres.
In 1915, after a stay in Lisbon in which he ran the Teatro Coliseu, he returned to Barcelona and worked as a businessman and artistic director of the Gran Teatre del Liceu during the periods 1915-16, 1918-30, 1934-37 and 1939- 47. His open-mindedness let him to renew Liceu’s programming by introducing Mozart’s operas and Russian, French and Catalan repertoire, thus incorporating premieres without abandoning the canonical repertoire.
Under his tutelage, the Liceu remained a leading lyrical theatre in the international scene. He related his professional experiences in El Gran Teatro del Liceo visto por su empresario published in 1945.
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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).
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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["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(1163) "Zarzuela and revue singer
In 1908 she settled in Barcelona and sung zarzuela, revue and operetta. In 1910 she performed at Teatre Tívoli in La corte del Faraón (with music by Lleó). The following year she premiered the lyrical sainete Gente menuda (with music by Valverde) at Teatre Còmic, and in 1912 Abierta toda la noche, (with music by Quislant i Badia) at Tívoli. In 1913 she took part in the premiere of El casament d’en Tarregada (with music by Francesc Montserrat) at the Teatre Nou.Despite numerous offers to perform outside of Barcelona, the so-called "Queen of the Parallel", performed mainly in theatres located on Avinguda Parallel, with very few exceptions. She had a light voice and imitated singers such as Pastora Imperio, La Fornarina and the French Nitta Jo, among others.She obtained a wide success acting with Joaquim Montero’s company, particularly in the revues ¡Arriba el telón! and Monterògraf. While rehearsing Cuando el amor muere with this company, she succumbed to the typhus epidemic that affected Barcelona between 1914 and 1915.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1159) "Zarzuela and revue singer
In 1908 she settled in Barcelona and sung zarzuela, revue and operetta. In 1910 she performed at Teatre Tívoli in La corte del Faraón (with music by Lleó). The following year she premiered the lyrical sainete Gente menuda (with music by Valverde) at Teatre Còmic, and in 1912 Abierta toda la noche, (with music by Quislant i Badia) at Tívoli. In 1913 she took part in the premiere of El casament d’en Tarregada (with music by Francesc Montserrat) at the Teatre Nou.Despite numerous offers to perform outside of Barcelona, the so-called "Queen of the Parallel", performed mainly in theatres located on Avinguda Parallel, with very few exceptions. She had a light voice and imitated singers such as Pastora Imperio, La Fornarina and the French Nitta Jo, among others.She obtained a wide success acting with Joaquim Montero’s company, particularly in the revues ¡Arriba el telón! and Monterògraf. While rehearsing Cuando el amor muere with this company, she succumbed to the typhus epidemic that affected Barcelona between 1914 and 1915.
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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.
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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She made her debut as a cuplet singer in 1921 in Barcelona and received singing lessons from Joan Viladomat and Vicenç Martín Quirós. She specialized in couplet inspired by French chanson realiste, taking singers such as La Fréhel, Edith Piaf and Juliette Gréco as her role models.
In 1922, whilst achieving success at Teatre Apol·lo, she recorded La muller d'en Manelic and La filla del pescador for Gramófono record label. Joan Viladomat composed the music for the tango-couplet Fumando espero and she popularized it at the Edén Concert (Barcelona) and recorded it in 1924. In 1923 she made her debut at Teatro Maravillas in Madrid.
During the second half of the 1920s she consolidated her success in the Eldorado and Circ Barcelonès theatres, with couplets such as El tango de la cocaína (with music by Viladomat) which she recorded in 1927. From 1930, she appeared on stages only sporadically, back at Circ Barcelonès, Coliseum and Tívoli. Her last public appearance was in 1944 at Circ Roxy.
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Cuplet singer
She made her debut as a cuplet singer in 1921 in Barcelona and received singing lessons from Joan Viladomat and Vicenç Martín Quirós. She specialized in couplet inspired by French chanson realiste, taking singers such as La Fréhel, Edith Piaf and Juliette Gréco as her role models.
In 1922, whilst achieving success at Teatre Apol·lo, she recorded La muller d'en Manelic and La filla del pescador for Gramófono record label. Joan Viladomat composed the music for the tango-couplet Fumando espero and she popularized it at the Edén Concert (Barcelona) and recorded it in 1924. In 1923 she made her debut at Teatro Maravillas in Madrid.
During the second half of the 1920s she consolidated her success in the Eldorado and Circ Barcelonès theatres, with couplets such as El tango de la cocaína (with music by Viladomat) which she recorded in 1927. From 1930, she appeared on stages only sporadically, back at Circ Barcelonès, Coliseum and Tívoli. Her last public appearance was in 1944 at Circ Roxy.
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At the age of six he began his music studies in the parish of Santa Anna’s chapel in Barcelona under Pere Llorens i Llatchós. In 1853 he was admitted to the Consevatori del Liceu, where he studied solfeggio and piano under Raimond Gili and harmony and composition under Gabriel Balart. In 1863 he premiered the overture Minerva at the Teatre dels Camps Elisis in Barcelona and four years later he presented the opera Rahabba at the Gran Teatre del Liceu. In 1869 he moved to Paris and studied under Daniel F. E. Auber whilst conducting at the Théâtre de la Gaîté. In 1871 he returned to Barcelona and taught at the Conservatori del Liceu, an institution he directed from 1893 to 1917. In 1881 he premiered the opera La cova dels orbs at Teatre Circ Barcelonès. Regarding style, he adhered to Meyerbeer's school. His output includes music for voice and piano (which he called simfomeles), operas, and religious music. He wrote several didactic works on music history and theory. Some of his students were Ll. Casagemas, J.Sicard, M. Rodríguez de Alcántara, E. Daniel, F. Marshall and J. Zamacois.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1149) "At the age of six he began his music studies in the parish of Santa Anna’s chapel in Barcelona under Pere Llorens i Llatchós. In 1853 he was admitted to the Consevatori del Liceu, where he studied solfeggio and piano under Raimond Gili and harmony and composition under Gabriel Balart. In 1863 he premiered the overture Minerva at the Teatre dels Camps Elisis in Barcelona and four years later he presented the opera Rahabba at the Gran Teatre del Liceu. In 1869 he moved to Paris and studied under Daniel F. E. Auber whilst conducting at the Théâtre de la Gaîté. In 1871 he returned to Barcelona and taught at the Conservatori del Liceu, an institution he directed from 1893 to 1917. In 1881 he premiered the opera La cova dels orbs at Teatre Circ Barcelonès. Regarding style, he adhered to Meyerbeer's school. His output includes music for voice and piano (which he called simfomeles), operas, and religious music. He wrote several didactic works on music history and theory. Some of his students were Ll. Casagemas, J.Sicard, M. Rodríguez de Alcántara, E. Daniel, F. Marshall and J. Zamacois.
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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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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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Carrer de Lepant 150, 08013 Barcelona
mail: patrimonimusical@auditori.cat