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Teatre Arnau
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Year of establishment: 1903
History:
Situat a l'Avinguda del Paral·lel, va ser un teatre emblemàtic de la ciutat en la programació i difusió de teatre de varietats i de cinema. Va ser inaugurat l'octubre de 1903 al mateix lloc on ja hi havia un pavelló de fusta on se celebraven espectacles, i el seu nom és el del primer propietari. L’Arnau va ser el teatre de la mítica Raquel Meller, però també d'altres artistes com ara la Bella Dorita. Convertit en cinema a la dècada dels trenta, a la dècada dels vuitanta va recuperar els orígens de music-hall fins al tancament l’any 2004. Una iniciativa popular va fer possible que l'immoble fos adquirit per l'Ajuntament de Barcelona per convertir-lo en un museu del Paral·lel i en espai comunitari.
Singer and cupletista of Aragonese origin, the family moved to Barcelona where she worked as assistant to a dressmaker until 1908, when she managed to perform in the theaters of Paral·lel with the name of La bella Raquel. In 1911, she made his debut at Arnau Theater, already under the name of Raquel Meller. There, she became famous for cuplets such as La violetera or El reliquiario, which drove his career internationally. From the 1920s she moved to Paris, where she performed on stage and in about a dozen films - mainly silent films but the latest, soundtracks - as well as in numerous recordings. Success led her to travel to Latin America and the United States, where she participated in films produced in Hollywood. After the Spanish Civil War, she returned to Barcelona, where, the by the changes in the show business contributed to gradual loss of her popularity and the final abandoning of her artistic career. She is considered the most internationally renowned Spanish artist of the 1920s and 1930s.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1040) "Singer and cupletista of Aragonese origin, the family moved to Barcelona where she worked as assistant to a dressmaker until 1908, when she managed to perform in the theaters of Paral·lel with the name of La bella Raquel. In 1911, she made his debut at Arnau Theater, already under the name of Raquel Meller. There, she became famous for cuplets such as La violetera or El reliquiario, which drove his career internationally. From the 1920s she moved to Paris, where she performed on stage and in about a dozen films - mainly silent films but the latest, soundtracks - as well as in numerous recordings. Success led her to travel to Latin America and the United States, where she participated in films produced in Hollywood. After the Spanish Civil War, she returned to Barcelona, where, the by the changes in the show business contributed to gradual loss of her popularity and the final abandoning of her artistic career. She is considered the most internationally renowned Spanish artist of the 1920s and 1930s.
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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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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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He began working in variety at Teatre Arnau in 1918 and performed recurrently at the Còmic, Victòria and Apol·lo theatres in Barcelona’s Paral·lel. He also frequented Madrid stages, making his debut in 1926 at Teatro Romea. He was known by the stage name Alady, he wore a tuxedo, bowler hat and white gloves, moving away from the traditional comic look. He performed in the music hall with a style close to Parisian chansonniers. His shows were very popular and included a dialogue of jokes with the audience, dance and parody. Around 1930, he toured different Spanish provinces with his own company, which brought together dancers, an animal tamer and an illusionist, and had Miguel Mihura as a collaborator. He took part in vaudeville shows such as La reina ha relliscat of the Santpere-Nolla company offered at the Teatre Espanyol in 1932. That same year he was hired again at the Romea in Madrid, when the military coup took place. The so-called ‘King of the Parallel’ played supporting roles in films such as Armand Guerra's El amor solfeando (1930)
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1144) "Comedian, dancer and burlesque singer
He began working in variety at Teatre Arnau in 1918 and performed recurrently at the Còmic, Victòria and Apol·lo theatres in Barcelona’s Paral·lel. He also frequented Madrid stages, making his debut in 1926 at Teatro Romea. He was known by the stage name Alady, he wore a tuxedo, bowler hat and white gloves, moving away from the traditional comic look. He performed in the music hall with a style close to Parisian chansonniers. His shows were very popular and included a dialogue of jokes with the audience, dance and parody. Around 1930, he toured different Spanish provinces with his own company, which brought together dancers, an animal tamer and an illusionist, and had Miguel Mihura as a collaborator. He took part in vaudeville shows such as La reina ha relliscat of the Santpere-Nolla company offered at the Teatre Espanyol in 1932. That same year he was hired again at the Romea in Madrid, when the military coup took place. The so-called ‘King of the Parallel’ played supporting roles in films such as Armand Guerra's El amor solfeando (1930)
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He began his studies in Manlleu and continued at the Conservatori del Liceu in Barcelona. He associated himself with Arnau Theater and founded La Colosal, a vaudeville school. He became a prominent composer of the Parallel from the 1910s to 1930s. He composed more than five hundred works linked to the theatre, including vast amount of cuplets, such as El vestir d’en Pasqual, tangos such as the Fumando espero, and sardanes such as Catalunya plora (1924) or El foxtrot de las campanas (1918).
Composer and Performer
He began his studies in Manlleu and continued at the Conservatori del Liceu in Barcelona. He associated himself with Arnau Theater and founded La Colosal, a vaudeville school. He became a prominent composer of the Parallel from the 1910s to 1930s. He composed more than five hundred works linked to the theatre, including vast amount of cuplets, such as El vestir d’en Pasqual, tangos such as the Fumando espero, and sardanes such as Catalunya plora (1924) or El foxtrot de las campanas (1918).
" } } } ["field_ciutats_relacionades"]=> array(1) { ["und"]=> array(2) { [0]=> array(1) { ["target_id"]=> string(3) "335" } [1]=> array(1) { ["target_id"]=> string(3) "200" } } } ["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(1) { ["und"]=> array(6) { [0]=> array(1) { ["target_id"]=> string(4) "4779" } [1]=> array(1) { ["target_id"]=> string(4) "5430" } [2]=> array(1) { ["target_id"]=> string(4) "5101" } [3]=> array(1) { ["target_id"]=> string(4) "5725" } [4]=> array(1) { ["target_id"]=> string(4) "5787" } [5]=> array(1) { ["target_id"]=> string(4) "6090" } } } ["field_institucions_i_formacions_"]=> array(0) { } ["field_noms_propis_relacionats"]=> array(1) { ["und"]=> array(3) { [0]=> array(1) { ["target_id"]=> string(4) "4159" } [1]=> array(1) { ["target_id"]=> string(4) "3861" } [2]=> array(1) { ["target_id"]=> string(4) "4037" } } } ["field_teatres_i_auditoris_relaci"]=> array(1) { ["und"]=> array(1) { [0]=> array(1) { ["target_id"]=> string(4) "3701" } } } ["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(9) "Viladomat" ["format"]=> NULL ["safe_value"]=> string(9) "Viladomat" } } } ["field_np_cognom_2"]=> array(1) { ["und"]=> array(1) { [0]=> array(3) { ["value"]=> string(8) "Massanas" ["format"]=> NULL ["safe_value"]=> string(8) "Massanas" } } } ["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) "1540472493" ["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(9) "Viladomat" ["#access"]=> bool(true) } ["raw"]=> array(3) { ["value"]=> string(9) "Viladomat" ["format"]=> NULL ["safe_value"]=> string(9) "Viladomat" } } } } }
T. 93 256 36 50
Carrer de Lepant 150, 08013 Barcelona
mail: patrimonimusical@auditori.cat