Publication: Cádiz, centro operístico peninsular en la España de los siglos XVIII y XIX (1761-1830)
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2016-10-18
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Universidad Complutense de Madrid
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Abstract
A lo largo del siglo XVIII Cádiz fue configurándose como una ciudad de características únicas en la España de la época. Su privilegiada situación geográfica en las rutas marítimas comerciales y el traslado de la Casa de Contratación desde Sevilla (1717), vinieron a hacer de esta ciudad el centro comercial más importante entre Europa y el Nuevo Mundo. Este esplendor se dejó sentir en casi todos los aspectos sociales de la misma. A medida que avanzaba el siglo, fue emergiendo una nueva clase social: la burguesía que adquiriría un peso específico en la vida cultural de la ciudad. Otro importante colectivo dinamizador fue la población extranjera que se asentó en la ciudad atraída por su intensa vida comercial. La confluencia de tantas nacionalidades en el recinto de la ciudad, dotó a Cádiz de un carácter abierto, liberal y acogedor y de un ambiente próspero y tolerante que propició la proliferación de lugares destinados a la diversión y el ocio. Durante algunos años del siglo XVIII Cádiz contó con tres teatros que funcionaron de manera simultánea: la Casa de Comedias (creada en el siglo XVII), el Coliseo de Ópera (1761-1779) y el Teatro Francés (1769-1779). Las características de la sociedad gaditana unidas a la amplia infraestructura teatral de la ciudad convirtieron a Cádiz en un centro de gran predisposición para albergar uno de los espectáculos que mayor importancia estaba adquiriendo en aquellos años: la ópera. Durante los años de vida del Coliseo de Ópera llegaron a Cádiz un gran número de compañías italianas portando el repertorio más en boga del momento, pudiendo disfrutar así los gaditanos de las tendencias musicales imperantes en el resto de Europa. Con la clausura de este teatro y el regreso de las compañías italianas a su país, la actividad operística en España entró en crisis; no sería hasta el año 1787 que comenzaría el movimiento de restauración de la ópera, en el que Cádiz participaría de manera muy activa. Los primeros años del siglo XIX (1802-1808), se caracterizaron por la incorporación de repertorios de autores franceses (Dalayrac, Boieldieu, Della-Maria, Isouard), y por el intento de creación de un modelo de ópera propiamente español. En estos años Cádiz se mantuvo como ciudad de referencia del mundo operístico; la presencia de Manuel García y Esteban Cristiani fue decisiva para que en la ciudad se conocieran las primeras obras de estos emblemáticos compositores...
Throughout the Eighteenth Century Cádiz was configured as a city of unique features in the Spain of the time. Its privileged location in the commercial maritime routes and the transfer of the Casa de Contratación from Seville (1717) came to make this city the most important center of trade between Europe and the New World. This splendor was felt in almost all social aspects. As the century progressed, it was emerging a new social class: the bourgeoisie would acquire a specific weight in the cultural life of the city. Another important group was foreign population that settled in the city attracted by its intense commercial life. The confluence of so many nationalities in the city, endowed Cádiz an open, liberal and welcoming character and a prosperous and tolerant atmosphere that led to the proliferation of places for fun and leisure. During some years of the Eighteenth Century Cádiz had three theaters that ran simultaneously: la Casa de Comedias (created in the Seventeenth Century), el Coliseo de Ópera (1761-1779) and Teatro Francés (1769-1779). The characteristics of the society coupled with the broad theater infrastructure of the city became Cádiz a center of great willingness to host one of the shows that was acquiring greater importance in those years: the opera. During the years of the Coliseo de Ópera they reached a large number of Italian companies carrying repertoire in vogue at the time, being able to enjoy of prevailing musical trends in the rest of Europe. With the closure of the theater and the return of Italian companies to their country, the opera activity in Spain was in crisis; it was not until 1787 that it would begin the restoration movement of the opera, in which Cádiz participate very actively. The early Nineteenth Century (1802-1808), characterized by the incorporation of French authors (Dalayrac, Boieldieu, Della-Maria, Isouard), and the attempt to create a model of Spanish opera itself. In these years Cádiz city remained as reference the opera world; the presence of Manuel García and Esteban Cristiani was instrumental in the city's early works these iconic composers were known. During the War of Independence (1808-1814) Cádiz theater became tribune of political proclamations and patriotic expressions, acquiring a hue that exceeded the strictly theatrical. The repertoire continued in the wake of the Spanish capital with the absolute predominance of French authors and retention poster Cristiani and especially Manuel García. A new genre erupted with force in these years in the Cádiz theater scope: patriotic songs and hymns, becoming a major focus Cádiz musical production of this genre, which circulated heavily in the theater environment and all kinds of celebrations civil and public...
Throughout the Eighteenth Century Cádiz was configured as a city of unique features in the Spain of the time. Its privileged location in the commercial maritime routes and the transfer of the Casa de Contratación from Seville (1717) came to make this city the most important center of trade between Europe and the New World. This splendor was felt in almost all social aspects. As the century progressed, it was emerging a new social class: the bourgeoisie would acquire a specific weight in the cultural life of the city. Another important group was foreign population that settled in the city attracted by its intense commercial life. The confluence of so many nationalities in the city, endowed Cádiz an open, liberal and welcoming character and a prosperous and tolerant atmosphere that led to the proliferation of places for fun and leisure. During some years of the Eighteenth Century Cádiz had three theaters that ran simultaneously: la Casa de Comedias (created in the Seventeenth Century), el Coliseo de Ópera (1761-1779) and Teatro Francés (1769-1779). The characteristics of the society coupled with the broad theater infrastructure of the city became Cádiz a center of great willingness to host one of the shows that was acquiring greater importance in those years: the opera. During the years of the Coliseo de Ópera they reached a large number of Italian companies carrying repertoire in vogue at the time, being able to enjoy of prevailing musical trends in the rest of Europe. With the closure of the theater and the return of Italian companies to their country, the opera activity in Spain was in crisis; it was not until 1787 that it would begin the restoration movement of the opera, in which Cádiz participate very actively. The early Nineteenth Century (1802-1808), characterized by the incorporation of French authors (Dalayrac, Boieldieu, Della-Maria, Isouard), and the attempt to create a model of Spanish opera itself. In these years Cádiz city remained as reference the opera world; the presence of Manuel García and Esteban Cristiani was instrumental in the city's early works these iconic composers were known. During the War of Independence (1808-1814) Cádiz theater became tribune of political proclamations and patriotic expressions, acquiring a hue that exceeded the strictly theatrical. The repertoire continued in the wake of the Spanish capital with the absolute predominance of French authors and retention poster Cristiani and especially Manuel García. A new genre erupted with force in these years in the Cádiz theater scope: patriotic songs and hymns, becoming a major focus Cádiz musical production of this genre, which circulated heavily in the theater environment and all kinds of celebrations civil and public...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Musicología, leída el 19-01-2016