Teatre Victòria de Barcelona

Historical Theatres and Concert Halls
Teatre Victòria de Barcelona
  • Alternative names:
    Teatre Soriano

    Year of establishment: 1905
    History:
    L’any 1905 es va inaugurar a l'Avinguda del Paral·lel el Teatro Pabellón Soriano, El Suri, dedicat als espectacles de varietats i revista. Després d'un breu període de temps utilitzat com a cinema, l'octubre de 1916 es va inaugurar com a Teatre Victòria. Allí es va estrenar L'auca del senyor Esteve de Santiago Rusiñol (1917) i hi van actuar els artistes i solistes vocals més destacats del moment. En els anys de la postguerra es va convertir en un teatre de vodevils, varietats i revista, i ha estat l'espai on s'han estrenat els espectacles musicals de la Companyia Dagoll Dagom, amb títols com el popular Mar i cel (1987) de amb música d’Albert Guinovart i text de Xavier Bru de Sala. Entre 1995 i 1999 va ser la seu provisional del Gran Teatre del Liceu mentre es reconstruïa després de l'incendi del 1994.
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He trained at the Military Academy of Zaragoza. He excelled in the field of music and composed multiple compositions such as the Infantry Hymn.

After leaving the military, he devoted himself to symphonic and theatrical music. The premiere of El cantar del arriero (1930) at Teatre Victòria stands out among his output. He settled in Barcelona and composed a significant number of zarzuelas of remarkable success.

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He trained at the Military Academy of Zaragoza. He excelled in the field of music and composed multiple compositions such as the Infantry Hymn.

After leaving the military, he devoted himself to symphonic and theatrical music. The premiere of El cantar del arriero (1930) at Teatre Victòria stands out among his output. He settled in Barcelona and composed a significant number of zarzuelas of remarkable success.

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Soprano

She is considered one of the great names of the Catalan lyrical scene of the first half of the 20th century. She studied singing with Mariano Beut and made her debut with Cançó d'amor i de guerra in 1927 at Teatre Victòria. Four years later she debuted at Gran Teatre del Liceu singing Rigoletto together with Hipòlit Lázaro. She married Josep Maria Coll i Rovira, who was later executed during the Civil War, and remarried Constantí Carrera, who helped her create her own opera company in the 1940s. She became interested in Lied and recorded multiple albums. She retired in the late 1950s.

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Soprano

She is considered one of the great names of the Catalan lyrical scene of the first half of the 20th century. She studied singing with Mariano Beut and made her debut with Cançó d'amor i de guerra in 1927 at Teatre Victòria. Four years later she debuted at Gran Teatre del Liceu singing Rigoletto together with Hipòlit Lázaro. She married Josep Maria Coll i Rovira, who was later executed during the Civil War, and remarried Constantí Carrera, who helped her create her own opera company in the 1940s. She became interested in Lied and recorded multiple albums. She retired in the late 1950s.

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Soprano

Victòria dels Àngels studied at the Superior Conservatory of Music of the Liceu. Member of Ars Musicae, she debuted at the Gran Teatre del Liceu in 1945 singing the role of Countess of Almaviva in Le Nozze di Figaro. This debut was the start of an international career that took her to the most important theaters and festivals around the world, including the Wagner Festival in Bayreuth where, in 1961, she sang the role of Elisabeth in Tannhäuser. She finished her operatic career singing Pélleas et Mélisande by C. Debussy at the Teatro de la Zarzuela in Madrid. From the 1980s, she decided to focus on recitals and singing lieder, a genre in which she was considered exceptional. She made numerous recordings, some of which were highly praised. She was considered one of the greatest sopranos of the second half of the twentieth century.

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Soprano

Victòria dels Àngels studied at the Superior Conservatory of Music of the Liceu. Member of Ars Musicae, she debuted at the Gran Teatre del Liceu in 1945 singing the role of Countess of Almaviva in Le Nozze di Figaro. This debut was the start of an international career that took her to the most important theaters and festivals around the world, including the Wagner Festival in Bayreuth where, in 1961, she sang the role of Elisabeth in Tannhäuser. She finished her operatic career singing Pélleas et Mélisande by C. Debussy at the Teatro de la Zarzuela in Madrid. From the 1980s, she decided to focus on recitals and singing lieder, a genre in which she was considered exceptional. She made numerous recordings, some of which were highly praised. She was considered one of the greatest sopranos of the second half of the twentieth century.

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Comedian, dancer and burlesque singer

He began working in variety at Teatre Arnau in 1918 and performed recurrently at the Còmic, Victòria and Apol·lo theatres in Barcelona’s Paral·lel. He also frequented Madrid stages, making his debut in 1926 at Teatro Romea. He was known by the stage name Alady, he wore a tuxedo, bowler hat and white gloves, moving away from the traditional comic look. He performed in the music hall with a style close to Parisian chansonniers. His shows were very popular and included a dialogue of jokes with the audience, dance and parody. Around 1930, he toured different Spanish provinces with his own company, which brought together dancers, an animal tamer and an illusionist, and had Miguel Mihura as a collaborator. He took part in vaudeville shows such as La reina ha relliscat of the Santpere-Nolla company offered at the Teatre Espanyol in 1932. That same year he was hired again at the Romea in Madrid, when the military coup took place. The so-called ‘King of the Parallel’ played supporting roles in films such as Armand Guerra's El amor solfeando (1930)

" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1144) "

Comedian, dancer and burlesque singer

He began working in variety at Teatre Arnau in 1918 and performed recurrently at the Còmic, Victòria and Apol·lo theatres in Barcelona’s Paral·lel. He also frequented Madrid stages, making his debut in 1926 at Teatro Romea. He was known by the stage name Alady, he wore a tuxedo, bowler hat and white gloves, moving away from the traditional comic look. He performed in the music hall with a style close to Parisian chansonniers. His shows were very popular and included a dialogue of jokes with the audience, dance and parody. Around 1930, he toured different Spanish provinces with his own company, which brought together dancers, an animal tamer and an illusionist, and had Miguel Mihura as a collaborator. He took part in vaudeville shows such as La reina ha relliscat of the Santpere-Nolla company offered at the Teatre Espanyol in 1932. That same year he was hired again at the Romea in Madrid, when the military coup took place. The so-called ‘King of the Parallel’ played supporting roles in films such as Armand Guerra's El amor solfeando (1930)

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