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Teatre Eldorado
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Alternative names:
Teatre Ribas
Teatre Catalunya
Year of establishment: 1884
History:
Situat a la Plaça Catalunya, es va inaugurar el 1884 amb el nom de Teatre Ribas, el de l'empresari que va engegar-lo. Va perllongar l’activitat fins el 1929, quan va ser enderrocat. Entremig es va anomenar Teatre Catalunya i, finalment, Teatre Eldorado, nom agafat de l'emblemàtic edifici parisenc. Es va dedicar a la programació d'obres de teatre, sarsuela, òpera i concerts simfònics. Cal destacar-ne l'estrena de la sarsuela d'Enric Morera Las Caramellas (1902), i de les sarsueles d'Albert Cotó, a més d'importants obres de teatre de Benito Pérez Galdós, Ramón María del Valle-Inclán o Joan Maragall (Nausica, 1912). Va ser la seu de l'Orquestra Simfònica de Barcelona i va estrenar a Barcelona les òperes Djamileh de G. Biz
Cuplet singer. She started singing within the family circle until she moved to Barcelona. After a moderate success in her debut at Saló Doré, she progressively gained fame thanks to the performance of songs and cuplets in Catalan, in addition to her repertoire in Spanish. At the beginning of the 1920s she performed in Madrid and Seville, where she achieved some success. In Catalonia, she became a prominent figure in the cupletist scene and variety shows. She performed constantly at theatres such as Eldorado and made multiple recordings. Furthermore, she was key in the popularization of songs such as ‘La Marieta de l’ull viu - Baixant de la Font del Gat’. Around 1925, she got married and abandoned the theatres completely endeding her artistic career.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(784) "Cuplet singer. She started singing within the family circle until she moved to Barcelona. After a moderate success in her debut at Saló Doré, she progressively gained fame thanks to the performance of songs and cuplets in Catalan, in addition to her repertoire in Spanish. At the beginning of the 1920s she performed in Madrid and Seville, where she achieved some success. In Catalonia, she became a prominent figure in the cupletist scene and variety shows. She performed constantly at theatres such as Eldorado and made multiple recordings. Furthermore, she was key in the popularization of songs such as ‘La Marieta de l’ull viu - Baixant de la Font del Gat’. Around 1925, she got married and abandoned the theatres completely endeding her artistic career.
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He studied singing in Barcelona under Goula, who encouraged him to become a baritone and later a tenor. After studying singing in Paris, he debuted as a baritone at Liceu with Donizetti and took the stage name Angelo Angioletti (sometimes subject to small variations). His performances won acclaim at the Politeama Genovese, Teatro Real of Madrid and Liceu, singing in operas by Wagner, Bizet and Thomas. His career was established when he covered for the tenor Francesc Viñas in wagnerian roles at Carlo Felice theatre (Genoa) and La Scala (Milan). By the end of his career he premiered Acté by Manén and Emporium by Morera. He also composed accompanied vocal pieces and the opera Aurèlia, premiered at Eldorado theatre (Barcelona). A collection of the singer's materials is held at the Biblioteca de Catalunya.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(880) "Singer and Composer
He studied singing in Barcelona under Goula, who encouraged him to become a baritone and later a tenor. After studying singing in Paris, he debuted as a baritone at Liceu with Donizetti and took the stage name Angelo Angioletti (sometimes subject to small variations). His performances won acclaim at the Politeama Genovese, Teatro Real of Madrid and Liceu, singing in operas by Wagner, Bizet and Thomas. His career was established when he covered for the tenor Francesc Viñas in wagnerian roles at Carlo Felice theatre (Genoa) and La Scala (Milan). By the end of his career he premiered Acté by Manén and Emporium by Morera. He also composed accompanied vocal pieces and the opera Aurèlia, premiered at Eldorado theatre (Barcelona). A collection of the singer's materials is held at the Biblioteca de Catalunya.
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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).
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(1135) "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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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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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).
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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One of the main initiators of the Catalan rumba. He learned to play guitar as a kid. With 12 years he and his cousin Pepita Becas formed the duo Hermanos Montenegro, with which they won an award at the Tívoli Theater. Nevertheless, his first album (recorded in 1957) went unnoticed. In the 1960s he worked at the tablao El Duende (Madrid), and developed his style with the influence of Elvis Presley as well as the rumba El Pescadilla or El Orejas. In the 1970s his songs "Una lágrima" and "Borriquito com tu" achieved an international dissemination. In 1974 he took part in the Eurovision festival. In the mid 1980s, he announced his retirement from the stage. However, in 1991 he recorded 'Caballo Blanco', as part of Chipén's first album, and in 1992 he participated in the opening ceremony of the Barcelona Olympics. In addition to making 27 records, he was producer of his own record label through which he promoted Catalan rumba musicians.
Singer, guitarist and composer
One of the main initiators of the Catalan rumba. He learned to play guitar as a kid. With 12 years he and his cousin Pepita Becas formed the duo Hermanos Montenegro, with which they won an award at the Tívoli Theater. Nevertheless, his first album (recorded in 1957) went unnoticed. In the 1960s he worked at the tablao El Duende (Madrid), and developed his style with the influence of Elvis Presley as well as the rumba El Pescadilla or El Orejas. In the 1970s his songs "Una lágrima" and "Borriquito com tu" achieved an international dissemination. In 1974 he took part in the Eurovision festival. In the mid 1980s, he announced his retirement from the stage. However, in 1991 he recorded 'Caballo Blanco', as part of Chipén's first album, and in 1992 he participated in the opening ceremony of the Barcelona Olympics. In addition to making 27 records, he was producer of his own record label through which he promoted Catalan rumba musicians.
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She made her debut as a cuplet singer in 1921 in Barcelona and received singing lessons from Joan Viladomat and Vicenç Martín Quirós. She specialized in couplet inspired by French chanson realiste, taking singers such as La Fréhel, Edith Piaf and Juliette Gréco as her role models.
In 1922, whilst achieving success at Teatre Apol·lo, she recorded La muller d'en Manelic and La filla del pescador for Gramófono record label. Joan Viladomat composed the music for the tango-couplet Fumando espero and she popularized it at the Edén Concert (Barcelona) and recorded it in 1924. In 1923 she made her debut at Teatro Maravillas in Madrid.
During the second half of the 1920s she consolidated her success in the Eldorado and Circ Barcelonès theatres, with couplets such as El tango de la cocaína (with music by Viladomat) which she recorded in 1927. From 1930, she appeared on stages only sporadically, back at Circ Barcelonès, Coliseum and Tívoli. Her last public appearance was in 1944 at Circ Roxy.
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Cuplet singer
She made her debut as a cuplet singer in 1921 in Barcelona and received singing lessons from Joan Viladomat and Vicenç Martín Quirós. She specialized in couplet inspired by French chanson realiste, taking singers such as La Fréhel, Edith Piaf and Juliette Gréco as her role models.
In 1922, whilst achieving success at Teatre Apol·lo, she recorded La muller d'en Manelic and La filla del pescador for Gramófono record label. Joan Viladomat composed the music for the tango-couplet Fumando espero and she popularized it at the Edén Concert (Barcelona) and recorded it in 1924. In 1923 she made her debut at Teatro Maravillas in Madrid.
During the second half of the 1920s she consolidated her success in the Eldorado and Circ Barcelonès theatres, with couplets such as El tango de la cocaína (with music by Viladomat) which she recorded in 1927. From 1930, she appeared on stages only sporadically, back at Circ Barcelonès, Coliseum and Tívoli. Her last public appearance was in 1944 at Circ Roxy.
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T. 93 256 36 50
Carrer de Lepant 150, 08013 Barcelona
mail: patrimonimusical@auditori.cat