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Teatre Nou
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Alternative names:
Teatro Nuevo
Year of establishment: 1901
History:
Es va inaugurar el juny de 1901 a l'Avinguda del Paral·lel, just a tocar d’on s’establiria poc després el Teatre Victòria. Va estar en actiu fins a l'any 1988, que va ser enderrocat. En les primeres dècades va programar melodrames i operetes i, en aquesta línia, s'hi van poder veure les primeres versions castellanes d'operetes vieneses com Die Fledermaus de J. Strauss o Wiener Frauen de F. Lehár. Amb els anys, va presentar importants títols de la sarsuela catalana com la popular Cançó d'amor i de guerra (1926), La legió d'honor (1930) o Boris d'Eukàlia (1936) de Rafael Martínez Valls. Després del 1939 va passar a ser el Cine Teatro Nuevo, amb programació cinematogràfica, i a partir de 1958 el Nuevo Cinerama.
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.
" ["format"]=> string(13) "filtered_html" ["safe_value"]=> string(970) "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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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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T. 93 256 36 50
Carrer de Lepant 150, 08013 Barcelona
mail: patrimonimusical@auditori.cat