Cádiz, centro operístico peninsular en la España de los siglos XVIII y XIX (1761-1830)

Resumen

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...