array(2) { [0]=> string(5) "links" [1]=> string(8) "language" } array(4) { [0]=> object(stdClass)#267 (7) { ["node_title"]=> string(8) "Fernando" ["nid"]=> string(4) "6640" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(5) "Díaz" ["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)#259 (53) { ["vid"]=> string(4) "6807" ["uid"]=> string(1) "5" ["title"]=> string(8) "Fernando" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "6640" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1619434218" ["changed"]=> string(10) "1619434218" ["tnid"]=> string(4) "6424" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1619434218" ["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(4) "3509" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1887-06-20 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) "1960-12-04 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(1) { [0]=> array(1) { ["target_id"]=> string(2) "22" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(441) "

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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"1981-06-25 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(1) { [0]=> array(1) { ["target_id"]=> string(2) "24" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(653) "

Soprano

She is considered one of the great names of the Catalan lyrical scene of the first half of the 20^th 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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["height"]=> string(4) "1040" } } } ["field_lloc_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(2) "91" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1923-11-01 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) "2005-01-15 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(1) { [0]=> array(1) { ["target_id"]=> string(2) "24" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(900) "

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)

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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)

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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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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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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(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)#315 (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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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(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) "Martí" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(6) "Martí" ["format"]=> NULL ["safe_value"]=> string(6) "Martí" } } } } [5]=> object(stdClass)#316 (7) { ["node_title"]=> string(4) "Joan" ["nid"]=> string(4) "6524" ["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) 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array(4) { ["value"]=> string(19) "1871-01-01 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) "1955-06-06 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(0) { } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(1044) "

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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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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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) "Mestres" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(7) "Mestres" ["format"]=> NULL ["safe_value"]=> string(7) "Mestres" } } } } [6]=> object(stdClass)#317 (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"]=> 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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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"Mestres" ["format"]=> NULL ["safe_value"]=> string(7) "Mestres" } } } } [7]=> object(stdClass)#318 (7) { ["node_title"]=> string(4) "Pura" ["nid"]=> string(4) "6526" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(7) "Montoro" ["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)#329 (53) { ["vid"]=> string(4) "6693" ["uid"]=> string(1) "5" ["title"]=> string(4) "Pura" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "6526" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1617783957" ["changed"]=> string(10) "1617783957" ["tnid"]=> string(4) "6371" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1617783957" ["revision_uid"]=> string(1) "5" 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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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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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object(stdClass)#330 (53) { ["vid"]=> string(4) "6699" ["uid"]=> string(1) "5" ["title"]=> string(6) "Ramona" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "6532" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1617784728" ["changed"]=> string(10) "1617784728" ["tnid"]=> string(4) "6382" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1617784728" ["revision_uid"]=> string(1) "5" ["body"]=> array(0) { } ["field_g_nere"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(3) "102" } } } ["field_fotografia"]=> array(0) { } ["field_lloc_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(4) "6381" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1902-08-23 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) "1964-02-05 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(1) { [0]=> array(1) { ["target_id"]=> string(2) "24" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(1150) "

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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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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["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) "1617784728" ["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) "Rovira" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(6) "Rovira" ["format"]=> NULL ["safe_value"]=> string(6) "Rovira" } } } } [11]=> object(stdClass)#322 (7) { ["node_title"]=> string(17) "Francesc de Paula" ["nid"]=> string(4) "6533" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(8) "Sánchez" ["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)#331 (53) { ["vid"]=> string(4) "6700" ["uid"]=> string(1) "5" ["title"]=> string(17) "Francesc de Paula" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "6533" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1617784926" ["changed"]=> string(10) "1617784926" ["tnid"]=> string(4) "6419" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1617784926" ["revision_uid"]=> string(1) "5" ["body"]=> array(0) { } ["field_g_nere"]=> 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} } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(1150) "

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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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.

" } } } ["field_ciutats_relacionades"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(2) "91" } } } ["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(1) { [0]=> array(1) { ["target_id"]=> string(4) "3682" } } } ["field_noms_propis_relacionats"]=> array(1) { ["und"]=> array(6) { [0]=> array(1) { ["target_id"]=> string(4) "3876" } [1]=> array(1) { ["target_id"]=> string(4) "3926" } [2]=> array(1) { ["target_id"]=> string(4) "4039" } [3]=> array(1) { ["target_id"]=> string(4) "4139" } [4]=> array(1) { ["target_id"]=> string(4) "6256" } [5]=> array(1) { ["target_id"]=> string(4) "3429" } } } ["field_teatres_i_auditoris_relaci"]=> array(1) { ["und"]=> array(2) { [0]=> array(1) { ["target_id"]=> string(4) "3720" } [1]=> array(1) { ["target_id"]=> string(4) "3709" } } } ["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(8) "Sánchez" ["format"]=> NULL ["safe_value"]=> string(8) "Sánchez" } } } ["field_np_cognom_2"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(9) "Gavagnach" ["format"]=> NULL ["safe_value"]=> string(9) "Gavagnach" } } } ["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) "1617784926" ["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(8) "Sánchez" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(8) "Sánchez" ["format"]=> NULL ["safe_value"]=> string(8) "Sánchez" } } } } [12]=> object(stdClass)#323 (7) { ["node_title"]=> string(5) "Emili" ["nid"]=> string(4) "3443" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(8) "Vendrell" ["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)#305 (53) { ["vid"]=> string(4) "3574" ["uid"]=> string(1) "5" ["title"]=> string(5) "Emili" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "3443" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1540472687" ["changed"]=> string(10) "1573126630" ["tnid"]=> string(3) "508" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1573126630" ["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(2) "91" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1893-01-13 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) "1962-08-01 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(1) { [0]=> array(1) { ["target_id"]=> string(2) "24" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(1167) "

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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He studied with his father Manuel Penella i Raga, Salvador Giner and Andrés Goñi. Despite showing talent for the violin from an early age, he had to abandon the instrument due to an accident in his left hand. In 1894 he was organist of the parish of Sant Nicolau in Valencia, the city where he premiered the zarzuela La fiesta del pueblo.

In 1898 he began a journey through Latin America as musical director of multiple lyric companies, and also conducted a military band in Ecuador. In 1907 he settled in Madrid, where he premiered nine stage music works until 1914. In Buenos Aires he performed Las musas latinas (1913) with his own company.

In 1917 he premiered El gato montés at the Teatre Principal in Valencia, an opera that arrived to New York years later casting Concha Piquer. In 1932 he presented the opera Don Gil de Alcalà at Teatre Novedades (Barcelona), with which he paid homage to Mexico where he would move once the Spanish Civil War began.

He wrote over 80 stage music works, as well as very popular songs such as En tierra extraña and La maredeue

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He studied with his father Manuel Penella i Raga, Salvador Giner and Andrés Goñi. Despite showing talent for the violin from an early age, he had to abandon the instrument due to an accident in his left hand. In 1894 he was organist of the parish of Sant Nicolau in Valencia, the city where he premiered the zarzuela La fiesta del pueblo.

In 1898 he began a journey through Latin America as musical director of multiple lyric companies, and also conducted a military band in Ecuador. In 1907 he settled in Madrid, where he premiered nine stage music works until 1914. In Buenos Aires he performed Las musas latinas (1913) with his own company.

In 1917 he premiered El gato montés at the Teatre Principal in Valencia, an opera that arrived to New York years later casting Concha Piquer. In 1932 he presented the opera Don Gil de Alcalà at Teatre Novedades (Barcelona), with which he paid homage to Mexico where he would move once the Spanish Civil War began.

He wrote over 80 stage music works, as well as very popular songs such as En tierra extraña and La maredeue

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Composer and musical director

He was admitted to the Escola Municipal de Música in Valencia and studied under Manuel Penella i Raga, Robert Segura and Salvador Giner. After a brief stint as a pianist in the city’s cafés, in 1880 he focused on teaching while actively participating in the Valencian Renaixença Cultural, collaborating with Lo Rat Penat.

In 1884 he moved to Madrid and joined the company of the Teatro de la Zarzuela as its musical director. With this company, he toured the main theatres of the Iberian Peninsula for ten years. In 1896 he returned to Valencia and joined the company of Teatre de la Princesa, where he was able to achieve his goal of creating a specifically Valencian lyrical theatre. From 1905 to 1915 he directed the Russafa Theater and in 1916 he returned to the Princesa, leaving the theatre altogether in 1917.

He composed over 80 zarzuelas, sainetes and revues, often writing also their libretti. Some examples are La Chent de Tró (1898), Les Barraques (1899) and Las Carceleras (1901). He also composed some songs and Quinze estudis per a piano.

 

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Composer and musical director

He was admitted to the Escola Municipal de Música in Valencia and studied under Manuel Penella i Raga, Robert Segura and Salvador Giner. After a brief stint as a pianist in the city’s cafés, in 1880 he focused on teaching while actively participating in the Valencian Renaixença Cultural, collaborating with Lo Rat Penat.

In 1884 he moved to Madrid and joined the company of the Teatro de la Zarzuela as its musical director. With this company, he toured the main theatres of the Iberian Peninsula for ten years. In 1896 he returned to Valencia and joined the company of Teatre de la Princesa, where he was able to achieve his goal of creating a specifically Valencian lyrical theatre. From 1905 to 1915 he directed the Russafa Theater and in 1916 he returned to the Princesa, leaving the theatre altogether in 1917.

He composed over 80 zarzuelas, sainetes and revues, often writing also their libretti. Some examples are La Chent de Tró (1898), Les Barraques (1899) and Las Carceleras (1901). He also composed some songs and Quinze estudis per a piano.

 

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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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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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"1541519722" ["changed"]=> string(10) "1562152019" ["tnid"]=> string(4) "1198" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1562152019" ["revision_uid"]=> string(1) "5" ["body"]=> array(0) { } ["field_g_nere"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(3) "102" } } } ["field_fotografia"]=> array(0) { } ["field_lloc_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(3) "301" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1893-01-01 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) "1989-01-01 00:00:00" ["timezone"]=> string(13) "Europe/Berlin" ["timezone_db"]=> string(13) "Europe/Berlin" ["date_type"]=> string(8) "datetime" } } } ["field_lloc_mort"]=> array(1) { 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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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array(0) { } ["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(4) "Alba" ["format"]=> NULL ["safe_value"]=> string(4) "Alba" } } } ["field_np_cognom_1"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(6) "Pérez" ["format"]=> NULL ["safe_value"]=> string(6) "Pérez" } } } ["field_np_cognom_2"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(9) "Martínez" ["format"]=> NULL ["safe_value"]=> string(9) "Martínez" } } } ["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]=> 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["last_comment_timestamp"]=> string(10) "1541519722" ["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) "Pérez" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(6) "Pérez" ["format"]=> NULL ["safe_value"]=> string(6) "Pérez" } } } } [2]=> object(stdClass)#411 (7) { ["node_title"]=> string(5) "Josep" ["nid"]=> string(4) "3434" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(6) "Viñas" ["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)#403 (53) { ["vid"]=> string(4) "3565" ["uid"]=> string(1) "5" ["title"]=> string(5) "Josep" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "3434" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1540472331" ["changed"]=> string(10) "1573224267" ["tnid"]=> string(3) "520" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1573224267" ["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(2) "91" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1823-09-27 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) " " ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(560) "

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.

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array(2) { [0]=> string(5) "links" [1]=> string(8) "language" } array(4) { [0]=> object(stdClass)#449 (7) { ["node_title"]=> string(5) "Josep" ["nid"]=> string(4) "4138" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(8) "Rodoreda" ["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)#440 (53) { ["vid"]=> string(4) "4277" ["uid"]=> string(1) "5" ["title"]=> string(5) "Josep" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "4138" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1541691498" ["changed"]=> string(10) "1579598892" ["tnid"]=> string(3) "466" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1579598892" ["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(2) "91" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1851-02-13 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) "1922-08-01 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(3) "202" } } } ["field_tipus_de_persona"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(2) "22" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(1175) " " ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1137) "

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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"3946" } [1]=> array(1) { ["target_id"]=> string(4) "4035" } } } ["field_teatres_i_auditoris_relaci"]=> array(1) { ["und"]=> array(2) { [0]=> array(1) { ["target_id"]=> string(4) "3717" } [1]=> array(1) { ["target_id"]=> string(4) "3715" } } } ["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(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(4) "5285" } } } ["field_np_noms_alternatius"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(24) "José Rodoreda Santigós" ["format"]=> NULL ["safe_value"]=> string(24) "José Rodoreda Santigós" } } } ["field_np_cognom_1"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(8) "Rodoreda" ["format"]=> NULL ["safe_value"]=> string(8) "Rodoreda" } } } ["field_np_cognom_2"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(9) "Santigós" ["format"]=> NULL ["safe_value"]=> string(9) "Santigós" } } } ["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) "1541691498" ["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(8) "Rodoreda" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(8) "Rodoreda" ["format"]=> NULL ["safe_value"]=> string(8) "Rodoreda" } } } } [1]=> object(stdClass)#450 (7) { ["node_title"]=> string(6) "Júlia" ["nid"]=> string(4) "6256" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(6) "Sicard" ["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)#441 (53) { ["vid"]=> string(4) "6423" ["uid"]=> string(1) "3" ["title"]=> string(6) "Júlia" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "6256" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1614170938" ["changed"]=> string(10) "1614170938" ["tnid"]=> string(4) "6255" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1614170938" ["revision_uid"]=> string(1) "3" ["body"]=> array(0) { } ["field_g_nere"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(3) "102" } } } ["field_fotografia"]=> array(0) { } ["field_lloc_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(4) "3490" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1885-01-06 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) "1973-04-01 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"]=> 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Pianist and pedagogue

At the age of eight she began her musical studies at the Conservatori del Liceu under Vicent Costa i Nogueras and Francesc de Paula Sánchez i Gavagnach. She obtained her Music and Piano Diploma in 1903. In January 1907, she made her concert debut at the Salle Érard in Paris and in March of that year she performed before Barcelona audiences at Teatre Principal.

In 1905 she obtained a position as a piano teacher at the Escoles Franceses in Barcelona. In 1933 she obtained a position to teach elementary piano at the Conservatori del Liceu, an institution where she taught until 1961.

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Pianist and pedagogue

At the age of eight she began her musical studies at the Conservatori del Liceu under Vicent Costa i Nogueras and Francesc de Paula Sánchez i Gavagnach. She obtained her Music and Piano Diploma in 1903. In January 1907, she made her concert debut at the Salle Érard in Paris and in March of that year she performed before Barcelona audiences at Teatre Principal.

In 1905 she obtained a position as a piano teacher at the Escoles Franceses in Barcelona. In 1933 she obtained a position to teach elementary piano at the Conservatori del Liceu, an institution where she taught until 1961.

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Pianist and pedagogue. He studied in Barcelona with Joan Baptista Pujol. He continued his studies in Paris with Antoine François Marmontel in 1878 and in 1879, he made his debut at the Universal Exhibition of the same city. After his return to Barcelona, he began his career as concert pianist with a repertoire that he embraced from Scarlatti to the Romantic Germans and Chopin, as well as music by Catalan composers such as Albéniz, Alió and Rodríguez Alcántara. In his teaching career, he had Joaquim Nin and Robert Goberna as his students. In addition, he founded the Escola Musical Vidiella, where Lluís Millet and Enric Morera studied. He was a member of the Musical Association of Barcelona and president of the Society of Concerts of Barcelona. He also composed sporadically some music, such as Romança (1906) for piano. He is considered one of the founders of the modern piano school in Barcelona.

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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.

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array(2) { [0]=> string(5) "links" [1]=> string(8) "language" } array(4) { [0]=> object(stdClass)#490 (7) { ["node_title"]=> string(11) "Concepción" ["nid"]=> string(4) "6209" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(7) "Borrull" ["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)#327 (53) { ["vid"]=> string(4) "6376" ["uid"]=> string(1) "3" ["title"]=> string(11) "Concepción" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "6209" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1614079209" ["changed"]=> string(10) "1618576223" ["tnid"]=> string(4) "6174" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1618576223" ["revision_uid"]=> string(1) "5" ["body"]=> array(0) { } ["field_g_nere"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(3) "102" } } } ["field_fotografia"]=> array(0) { } ["field_lloc_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(3) "231" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1903-01-01 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) "1983-01-01 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) "24" } [1]=> array(1) { ["target_id"]=> string(2) "26" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(1178) "

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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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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"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) "1614079209" ["last_comment_name"]=> NULL ["last_comment_uid"]=> string(1) "3" ["comment_count"]=> string(1) "0" ["name"]=> string(4) "crg2" ["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) "Borrull" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(7) "Borrull" ["format"]=> NULL ["safe_value"]=> string(7) "Borrull" } } } } [1]=> object(stdClass)#491 (7) { ["node_title"]=> string(5) "Julia" ["nid"]=> string(4) "6210" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(7) "Borrull" ["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)#481 (53) { ["vid"]=> string(4) "6377" ["uid"]=> string(1) "3" ["title"]=> string(5) "Julia" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "6210" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1614079379" ["changed"]=> string(10) "1618575699" ["tnid"]=> string(4) "6173" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1618575699" ["revision_uid"]=> string(1) "5" ["body"]=> array(0) { } ["field_g_nere"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(3) "102" } } } ["field_fotografia"]=> array(0) { } ["field_lloc_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(3) "231" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1985-01-01 00:00:00" ["timezone"]=> string(13) "Europe/Berlin" ["timezone_db"]=> string(13) "Europe/Berlin" ["date_type"]=> string(8) "datetime" } } } ["field_data_mort"]=> array(0) { } ["field_lloc_mort"]=> array(0) { } ["field_tipus_de_persona"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(2) "24" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(1148) "

Flamenco dancer

Daughter of Miguel Borrull Castellón. In 1910, promoted by her father in Madrid’s variety halls, she began dancing flamenco with her sister Isabel, adopting the stage name ‘Las Hermanas Borrull’ or ‘Las Egipcias’. The sisters made their debut a year later at the Teatre Arnau in Barcelona. In 1912, their success made it possible for them to perform for a few months at the flamenco restaurant La Feria in Paris.

Between 1913 and 1915, she embarked on a successful solo tour of different Spanish cities. In 1915, the family moved to Barcelona where she ran the Café Villa Rosa from 1916. At the same time, she performed in theatres in Barcelona and throughout the country, including Sala Imperio (Barcelona), Teatre Eslava (Valencia), Teatro de la Zarzuela (Madrid) and the Kursaal (Melilla).

She took over the direction of the family-run Café Villa Rosa in 1926. In 1934, she took part in the premiere of the flamenco comedy La zambra by Chorro Jumo at the Teatre Poliorama.

Julio Romero de Torres captured the dancer in the painting Alegrías (1917).

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Flamenco dancer

Daughter of Miguel Borrull Castellón. In 1910, promoted by her father in Madrid’s variety halls, she began dancing flamenco with her sister Isabel, adopting the stage name ‘Las Hermanas Borrull’ or ‘Las Egipcias’. The sisters made their debut a year later at the Teatre Arnau in Barcelona. In 1912, their success made it possible for them to perform for a few months at the flamenco restaurant La Feria in Paris.

Between 1913 and 1915, she embarked on a successful solo tour of different Spanish cities. In 1915, the family moved to Barcelona where she ran the Café Villa Rosa from 1916. At the same time, she performed in theatres in Barcelona and throughout the country, including Sala Imperio (Barcelona), Teatre Eslava (Valencia), Teatro de la Zarzuela (Madrid) and the Kursaal (Melilla).

She took over the direction of the family-run Café Villa Rosa in 1926. In 1934, she took part in the premiere of the flamenco comedy La zambra by Chorro Jumo at the Teatre Poliorama.

Julio Romero de Torres captured the dancer in the painting Alegrías (1917).

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"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) "1614079379" ["last_comment_name"]=> NULL ["last_comment_uid"]=> string(1) "3" ["comment_count"]=> string(1) "0" ["name"]=> string(4) "crg2" ["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) "Borrull" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(7) "Borrull" ["format"]=> NULL ["safe_value"]=> string(7) "Borrull" } } } } [2]=> object(stdClass)#492 (7) { ["node_title"]=> string(9) "Francisco" ["nid"]=> string(4) "6207" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(8) "Codoñer" ["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)#484 (53) { ["vid"]=> string(4) "6374" ["uid"]=> string(1) "3" ["title"]=> string(9) "Francisco" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "6207" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1614076512" ["changed"]=> string(10) "1614076512" ["tnid"]=> string(4) "6179" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1614076512" ["revision_uid"]=> string(1) "3" ["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) "231" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1897-09-15 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) "1989-11-18 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(1) { [0]=> array(1) { ["target_id"]=> string(2) "22" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(1008) "

Composer

Based in Barcelona, he composed popular songs and dances during the second third of the 20^th century, with special relevance during the 1940s. His wife, Mercedes Belenguer, collaborated as his lyricist. They signed many of the works under the names of J. Lito and M. Godoy, respectively.

Some of the most celebrated songs include Mi casita de papel, Yo quiero un TBO and Amor que viene cantando, popularized by renowned vocalists of the time such as Pepe Blanco, Jorge Sepúlveda and Carmen Morell. The couple's production included pieces in different dance styles: tangos, foxtrots, pasodobles and boleros.

Francisco Codoñer is also the author of stage music premiered in Barcelona: the revue Luz en las sombras (1925) at Gran Teatre del Bosc; the lyrical fantasia Me debes un beso (1954) at Teatre Apol·lo and the revue Dos amores vienen cantando (1955) at Teatre Poliorama.

 

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Composer

Based in Barcelona, he composed popular songs and dances during the second third of the 20th century, with special relevance during the 1940s. His wife, Mercedes Belenguer, collaborated as his lyricist. They signed many of the works under the names of J. Lito and M. Godoy, respectively.

Some of the most celebrated songs include Mi casita de papel, Yo quiero un TBO and Amor que viene cantando, popularized by renowned vocalists of the time such as Pepe Blanco, Jorge Sepúlveda and Carmen Morell. The couple's production included pieces in different dance styles: tangos, foxtrots, pasodobles and boleros.

Francisco Codoñer is also the author of stage music premiered in Barcelona: the revue Luz en las sombras (1925) at Gran Teatre del Bosc; the lyrical fantasia Me debes un beso (1954) at Teatre Apol·lo and the revue Dos amores vienen cantando (1955) at Teatre Poliorama.

 

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Cuplet singer

She made her debut at the Café Novedades in Seville. In 1904 she settled in Madrid with a contract at Sala Actualidades. A year later she was already a well-known cuplet singer, sharing stage with Pastora Imperio, La Fornarina and La Bella Chelito. In the mid 1905, she visited Barcelona inaugurating the summer season at Teatre Granvia. In 1906 she began a national and international journey. She added songs and traditional costumes from other Spanish regions to the repertoire. The painter and stage designer Luis Muriel made up to 45 sets. In 1908 she performed for six months in the theatres of Havana and toured several Mexican cities. In 1914 she performed at Teatre Poliorama (Barcelona) with great success and in 1919 she made her debut in Paris with the opera Goyescas by Granados. The following year, she performed in London and in 1925 on Broadway. In 1947 she settled permanently in Barcelona. Some of her hits include Tango de los lunares, El aceitunero, Mi gitanillo, La naranjera and Pena, pena. She took part in the movie Malvaloca (1926) by Benito Perojo.

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Cuplet singer

She made her debut at the Café Novedades in Seville. In 1904 she settled in Madrid with a contract at Sala Actualidades. A year later she was already a well-known cuplet singer, sharing stage with Pastora Imperio, La Fornarina and La Bella Chelito. In the mid 1905, she visited Barcelona inaugurating the summer season at Teatre Granvia. In 1906 she began a national and international journey. She added songs and traditional costumes from other Spanish regions to the repertoire. The painter and stage designer Luis Muriel made up to 45 sets. In 1908 she performed for six months in the theatres of Havana and toured several Mexican cities. In 1914 she performed at Teatre Poliorama (Barcelona) with great success and in 1919 she made her debut in Paris with the opera Goyescas by Granados. The following year, she performed in London and in 1925 on Broadway. In 1947 she settled permanently in Barcelona. Some of her hits include Tango de los lunares, El aceitunero, Mi gitanillo, La naranjera and Pena, pena. She took part in the movie Malvaloca (1926) by Benito Perojo.

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array(2) { [0]=> string(5) "links" [1]=> string(8) "language" } array(8) { [0]=> object(stdClass)#531 (7) { ["node_title"]=> string(5) "Maria" ["nid"]=> string(4) "3883" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(10) "Barrientos" ["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)#522 (52) { ["vid"]=> string(4) "4022" ["uid"]=> string(1) "5" ["title"]=> string(5) "Maria" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "3883" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1541430746" ["changed"]=> string(10) "1579856552" ["tnid"]=> string(4) "3338" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1579856552" ["revision_uid"]=> string(1) "5" ["body"]=> array(0) { } ["field_g_nere"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(3) "102" } } } ["field_fotografia"]=> array(0) { } ["field_lloc_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(2) "91" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1883-01-01 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) "1946-01-01 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(4) "3882" } } } ["field_tipus_de_persona"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(2) "24" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(973) "

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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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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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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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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["tnid"]=> string(3) "781" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1579527455" ["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(0) { } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1880-10-07 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) "1969-10-27 00:00:00" ["timezone"]=> string(13) "Europe/Berlin" ["timezone_db"]=> string(13) "Europe/Berlin" ["date_type"]=> string(8) "datetime" } } } ["field_lloc_mort"]=> array(0) { } ["field_tipus_de_persona"]=> array(1) { ["und"]=> array(2) { [0]=> array(1) { ["target_id"]=> string(2) "22" } [1]=> 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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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Pianist and pedagogue

Disciple of Bernat Calvó Puig and Joan Baptista Dalmau. He played an important role in 19^th-century piano education in Catalonia, teaching music privately and at Escoles Pies in Barcelona. Joan Baptista Pujol was among his students.

As many important instrumentalists of that time, he supplemented his salary performing at Teatre Novedades’s café in Barcelona. He composed piano music such as the schotisch El Manileño and El Arroyuelo, and the Fantasía sobre motivos de la ópera Roberto il Diabolo.

 

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Pianist and pedagogue

Disciple of Bernat Calvó Puig and Joan Baptista Dalmau. He played an important role in 19th-century piano education in Catalonia, teaching music privately and at Escoles Pies in Barcelona. Joan Baptista Pujol was among his students.

As many important instrumentalists of that time, he supplemented his salary performing at Teatre Novedades’s café in Barcelona. He composed piano music such as the schotisch El Manileño and El Arroyuelo, and the Fantasía sobre motivos de la ópera Roberto il Diabolo.

 

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["name"]=> string(4) "crg2" ["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(4) "Sala" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(4) "Sala" ["format"]=> NULL ["safe_value"]=> string(4) "Sala" } } } } [7]=> object(stdClass)#538 (7) { ["node_title"]=> string(6) "Amadeu" ["nid"]=> string(4) "3430" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(5) "Vives" ["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)#525 (53) { ["vid"]=> string(4) "3561" ["uid"]=> string(1) "5" ["title"]=> 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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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Composer, music critic, pedagogue and conductor

He studied composition under Antoni Nicolau and violin under Domènec Sánchez i Deyà at the Escola Municipal de Música de Barcelona. He was a solfeggio teacher of the same school for twenty years, until he was appointed artistic director of the Gramophone record company in Barcelona. He also conducted the orchestra of the same company.

He wrote the essay Teoria elemental de la música: per a orfeons i escoles catalanes, and also some zarzuelas including El desterrado; Mundo, demonio y carne (1902) and El huertecillo (1917), premiered at Teatre Nou. He was a music critic for the publication El Diluvio, editor-in-chief of the magazine Música published in Barcelona between 1915 and 1916, and collaborated with Ràdio Associació de Catalunya. Gelabert also took part in the foundation of the Wagnerian Association of Barcelona.

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Composer, music critic, pedagogue and conductor

He studied composition under Antoni Nicolau and violin under Domènec Sánchez i Deyà at the Escola Municipal de Música de Barcelona. He was a solfeggio teacher of the same school for twenty years, until he was appointed artistic director of the Gramophone record company in Barcelona. He also conducted the orchestra of the same company.

He wrote the essay Teoria elemental de la música: per a orfeons i escoles catalanes, and also some zarzuelas including El desterrado; Mundo, demonio y carne (1902) and El huertecillo (1917), premiered at Teatre Nou. He was a music critic for the publication El Diluvio, editor-in-chief of the magazine Música published in Barcelona between 1915 and 1916, and collaborated with Ràdio Associació de Catalunya. Gelabert also took part in the foundation of the Wagnerian Association of Barcelona.

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"node" ["entity"]=> object(stdClass)#329 (53) { ["vid"]=> string(4) "6693" ["uid"]=> string(1) "5" ["title"]=> string(4) "Pura" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "6526" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1617783957" ["changed"]=> string(10) "1617783957" ["tnid"]=> string(4) "6371" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1617783957" ["revision_uid"]=> string(1) "5" ["body"]=> array(0) { } ["field_g_nere"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(3) "102" } } } ["field_fotografia"]=> array(0) { } ["field_lloc_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(3) "231" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1892-01-01 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) "1915-02-12 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(1) { [0]=> array(1) { ["target_id"]=> string(2) "24" } } } ["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.

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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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array(2) { [0]=> string(5) "links" [1]=> string(8) "language" } array(3) { [0]=> object(stdClass)#615 (7) { ["node_title"]=> string(8) "Llorenç" ["nid"]=> string(4) "6213" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(3) "Bau" ["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)#607 (53) { ["vid"]=> string(4) "6380" ["uid"]=> string(1) "3" ["title"]=> string(8) "Llorenç" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "6213" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1614079878" ["changed"]=> string(10) "1618571004" ["tnid"]=> string(4) "6166" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1618571004" ["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(2) "91" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1858-01-01 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) "1916-01-01 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) "24" } [1]=> array(1) { ["target_id"]=> string(2) "26" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(1030) "

Pianist and pedagogue

He studied in Vic under Colell and became the organist of the same church at the age of 11. In 1874 he returned to Barcelona and studied piano and harmony under Joan Baptista Pujol, Bernat Calvó Puig and Gabriel Balart. In 1878, he won the first prize in Piano at the Pujol Competition. A year later, he travelled to Paris and obtained a scholarship awarded by a committee consisting of Ambroise Thomas, Georges Mathias, Élie-Miriam Delaborde and Antoine François Marmontel.

Although he studied at the Paris Conservatory for two years, his father's illness prompted his return to Barcelona. There, in 1881, he decided to pursue a teaching career at his private academy with students such as Carme Bonaplata (his future wife), Carme Matas Aurigema, Santiago Riera, Joan Baptista Estradé and Pere Astort. In addition to his teaching activity, he created the Bau Piano Competition with annual calls.

It is also worth mentioning his task as Carme Bonaplata’s manager.

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Pianist and pedagogue

He studied in Vic under Colell and became the organist of the same church at the age of 11. In 1874 he returned to Barcelona and studied piano and harmony under Joan Baptista Pujol, Bernat Calvó Puig and Gabriel Balart. In 1878, he won the first prize in Piano at the Pujol Competition. A year later, he travelled to Paris and obtained a scholarship awarded by a committee consisting of Ambroise Thomas, Georges Mathias, Élie-Miriam Delaborde and Antoine François Marmontel.

Although he studied at the Paris Conservatory for two years, his father's illness prompted his return to Barcelona. There, in 1881, he decided to pursue a teaching career at his private academy with students such as Carme Bonaplata (his future wife), Carme Matas Aurigema, Santiago Riera, Joan Baptista Estradé and Pere Astort. In addition to his teaching activity, he created the Bau Piano Competition with annual calls.

It is also worth mentioning his task as Carme Bonaplata’s manager.

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Francesc de Paula Sánchez Gabagnach, Giovannina Bardelli, Agustí Torelló, Amadeu Vives Emilia Pardo Bazán

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Francesc de Paula Sánchez Gabagnach, Giovannina Bardelli, Agustí Torelló, Amadeu Vives Emilia Pardo Bazán

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Composer

She studied composition under F. Sánchez Gavagnach in addition to singing a and violin. At the age of eighteen she composed the opera Schiava e Regina, which was awarded at the Universal Exhibition of Chicago in 1893. Due to the anarchist attack of 1893 at Gran Teatre del Liceu the opera was not premiered, but it was partially performed at the Royal Palace of Madrid in 1894. The score was considered lost for many years but was finally found in 2017. She also composed other operas such as I briganti, symphonic music such as Twilight (1893), and over a hundred lieder. Her marriage to Enrique de Sorarrain Milans when she was 21 made her disappear from public life, and little is known about her life and creative activity after that.

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Composer

She studied composition under F. Sánchez Gavagnach in addition to singing a and violin. At the age of eighteen she composed the opera Schiava e Regina, which was awarded at the Universal Exhibition of Chicago in 1893. Due to the anarchist attack of 1893 at Gran Teatre del Liceu the opera was not premiered, but it was partially performed at the Royal Palace of Madrid in 1894. The score was considered lost for many years but was finally found in 2017. She also composed other operas such as I briganti, symphonic music such as Twilight (1893), and over a hundred lieder. Her marriage to Enrique de Sorarrain Milans when she was 21 made her disappear from public life, and little is known about her life and creative activity after that.

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Pianist, composer, pedagogue and editor 

Pupil of Pere Tintorer, at the age of sixteen he enrolled at the Conservatory of Paris where he studied with Émile Racine Gauthier Prudent and Jacob Rosenhain. He began his career with concerts in France, Germany and Spain, and was praised by the energy and expressiveness of his performances of Beethoven and Chopin. Established in Barcelona as of 1881, he was professor figures such as Mario Calado, Isaac Albéniz, Carles Vidiella, Joaquim Malats and Ricard Viñes, with whom he created an important piano tradition. He also organized concert seasons at the Teatre Líric and the Sala Beethoven, conducted by Frigola and with figures such as Massenet and Saint-Saëns. In 1888 he founded a music publishing house where Hispaniae Schola Musica Sacra was published and from where he promoted the music of composers such as Albéniz, Pedrell and Granados. Some of his output were lost during the Franco-Prussian War.

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array(2) { [0]=> string(5) "links" [1]=> string(8) "language" } array(3) { [0]=> object(stdClass)#655 (7) { ["node_title"]=> string(5) "Julia" ["nid"]=> string(4) "6210" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(7) "Borrull" ["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)#481 (53) { ["vid"]=> string(4) "6377" ["uid"]=> string(1) "3" ["title"]=> string(5) "Julia" ["log"]=> string(0) "" ["status"]=> string(1) "1" ["comment"]=> string(1) "2" ["promote"]=> string(1) "1" ["sticky"]=> string(1) "0" ["nid"]=> string(4) "6210" ["type"]=> string(9) "nom_propi" ["language"]=> string(2) "en" ["created"]=> string(10) "1614079379" ["changed"]=> string(10) "1618575699" ["tnid"]=> string(4) "6173" ["translate"]=> string(1) "0" ["revision_timestamp"]=> string(10) "1618575699" ["revision_uid"]=> string(1) "5" ["body"]=> array(0) { } ["field_g_nere"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(3) "102" } } } ["field_fotografia"]=> array(0) { } ["field_lloc_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(3) "231" } } } ["field_data_naixement"]=> array(1) { ["und"]=> array(1) { [0]=> array(4) { ["value"]=> string(19) "1985-01-01 00:00:00" ["timezone"]=> string(13) "Europe/Berlin" ["timezone_db"]=> string(13) "Europe/Berlin" ["date_type"]=> string(8) "datetime" } } } ["field_data_mort"]=> array(0) { } ["field_lloc_mort"]=> array(0) { } ["field_tipus_de_persona"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(2) "24" } } } ["field_biografia"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(1148) "

Flamenco dancer

Daughter of Miguel Borrull Castellón. In 1910, promoted by her father in Madrid’s variety halls, she began dancing flamenco with her sister Isabel, adopting the stage name ‘Las Hermanas Borrull’ or ‘Las Egipcias’. The sisters made their debut a year later at the Teatre Arnau in Barcelona. In 1912, their success made it possible for them to perform for a few months at the flamenco restaurant La Feria in Paris.

Between 1913 and 1915, she embarked on a successful solo tour of different Spanish cities. In 1915, the family moved to Barcelona where she ran the Café Villa Rosa from 1916. At the same time, she performed in theatres in Barcelona and throughout the country, including Sala Imperio (Barcelona), Teatre Eslava (Valencia), Teatro de la Zarzuela (Madrid) and the Kursaal (Melilla).

She took over the direction of the family-run Café Villa Rosa in 1926. In 1934, she took part in the premiere of the flamenco comedy La zambra by Chorro Jumo at the Teatre Poliorama.

Julio Romero de Torres captured the dancer in the painting Alegrías (1917).

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Flamenco dancer

Daughter of Miguel Borrull Castellón. In 1910, promoted by her father in Madrid’s variety halls, she began dancing flamenco with her sister Isabel, adopting the stage name ‘Las Hermanas Borrull’ or ‘Las Egipcias’. The sisters made their debut a year later at the Teatre Arnau in Barcelona. In 1912, their success made it possible for them to perform for a few months at the flamenco restaurant La Feria in Paris.

Between 1913 and 1915, she embarked on a successful solo tour of different Spanish cities. In 1915, the family moved to Barcelona where she ran the Café Villa Rosa from 1916. At the same time, she performed in theatres in Barcelona and throughout the country, including Sala Imperio (Barcelona), Teatre Eslava (Valencia), Teatro de la Zarzuela (Madrid) and the Kursaal (Melilla).

She took over the direction of the family-run Café Villa Rosa in 1926. In 1934, she took part in the premiere of the flamenco comedy La zambra by Chorro Jumo at the Teatre Poliorama.

Julio Romero de Torres captured the dancer in the painting Alegrías (1917).

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"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) "1614079379" ["last_comment_name"]=> NULL ["last_comment_uid"]=> string(1) "3" ["comment_count"]=> string(1) "0" ["name"]=> string(4) "crg2" ["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) "Borrull" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(7) "Borrull" ["format"]=> NULL ["safe_value"]=> string(7) "Borrull" } } } } [1]=> object(stdClass)#656 (7) { ["node_title"]=> string(6) "Manuel" ["nid"]=> string(4) "6203" ["node_language"]=> string(2) "en" ["field_data_field_np_cognom_1_field_np_cognom_1_value"]=> string(3) "Gas" ["field_data_field_np_cognom_1_node_entity_type"]=> string(4) "node" ["_field_data"]=> array(1) { 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Lyrical basso and music promoter

His parents settled in Barcelona in 1908 and he was soon drawn into singing by listening to Emili Sagi i Barba. He studied singing at the Conservatori del Liceu and received classes from Lluís Canalda. In 1930 he made his debut in the Sala Olimpia with La favorita, accompanying Hipòlit Lázaro.In 1935, after a four-year training in Milan, he obtained a position at Liceu and sang Rigoletto, La forza del destino and Aida, a repertoire he also performed at the Teatro Calderón in Madrid, with Fleta and Volpi.LyIn 1940, at the express request of Sorozábal, he took part in the premiere of La Tabernera del Puerto in Madrid and continued the season at the Calderón performing with Mercè Capsir. In the following years, he focused on zarzuela and premiered titles such as Marina, La eterna canción, Adiós a la bohemia and Cançó d'amor i de guerra. He accompanied Sorozábal on a tour through Spain, Argentina and Uruguay and in 1948, he founded his own company. He left the stage in 1973, having perfored Don Gil de Alcalá de Penella at Teatre Espanyol in Barcelona

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Lyrical basso and music promoter

His parents settled in Barcelona in 1908 and he was soon drawn into singing by listening to Emili Sagi i Barba. He studied singing at the Conservatori del Liceu and received classes from Lluís Canalda. In 1930 he made his debut in the Sala Olimpia with La favorita, accompanying Hipòlit Lázaro.In 1935, after a four-year training in Milan, he obtained a position at Liceu and sang Rigoletto, La forza del destino and Aida, a repertoire he also performed at the Teatro Calderón in Madrid, with Fleta and Volpi.LyIn 1940, at the express request of Sorozábal, he took part in the premiere of La Tabernera del Puerto in Madrid and continued the season at the Calderón performing with Mercè Capsir. In the following years, he focused on zarzuela and premiered titles such as Marina, La eterna canción, Adiós a la bohemia and Cançó d'amor i de guerra. He accompanied Sorozábal on a tour through Spain, Argentina and Uruguay and in 1948, he founded his own company. He left the stage in 1973, having perfored Don Gil de Alcalá de Penella at Teatre Espanyol in Barcelona

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l'humorista Rafael Arcos, el cantant còmic Carlos Hidalgo Baldomero, Rafaelito Díaz El negrito.

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l'humorista Rafael Arcos, el cantant còmic Carlos Hidalgo Baldomero, Rafaelito Díaz El negrito.

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Cupletista

In the 1910s, she began performing in theaters of Barcelona. Already under the name of La Goyita, she consolidated her success in 1912, performing in renowned theaters in Barcelona, Valencia and Madrid. Later on, she formed collaborated with several comedians and singers. She became one of the most prominent cupletistes of the 1920's of the Paral·lel’s show industry (Barcelona). She remained active until the 1950s, when she abandoned the stage. Some of her performances are considered among the most popular of the genre, for example Amor de muñecos and Mi Luis, as well as, La Mare i La dona de tothom in Catalan.

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Cupletista

In the 1910s, she began performing in theaters of Barcelona. Already under the name of La Goyita, she consolidated her success in 1912, performing in renowned theaters in Barcelona, Valencia and Madrid. Later on, she formed collaborated with several comedians and singers. She became one of the most prominent cupletistes of the 1920's of the Paral·lel’s show industry (Barcelona). She remained active until the 1950s, when she abandoned the stage. Some of her performances are considered among the most popular of the genre, for example Amor de muñecos and Mi Luis, as well as, La Mare i La dona de tothom in Catalan.

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