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Guillermo
Perrín
(1857 -
1923)
|
 Guillermo
Perrín y Vico was born in Malaga in 1857, a nephew of the great
actor Antonio Vico, and died in Madrid in 1923. Miguel de
Palacios was born in Gijón (possibly) in 1863 and studied medicine,
but abandoned his first career to become a writer. Besides the zarzuelas
written with Perrín he also wrote historical dramas and poetry. He died
in Gijón (not Covadonga as often cited*) in 1920. In public character
Palacios was serious and moody, Perrín witty and bright. Together they
formed an indissoluble literary union, to the extent that many people believed
Perrín y Palacios to be one writer.
The quantity and
inconsistent quality of their work made them the butt of many jokes ("At the
end opinion was divided, some booed Perrín and others booed Palacios")
but their popularity never waned - partly because they steered clear of
situations drawn from everyday Madrid life in favour of lighter, more frivolous
plots closer to contemporary Viennese operetta. For these reasons the critics
were harsh on them, but the following (unattributed) summary is fair enough:
| "Astonishing is the ability and the luck of these authors
to obtain - from a minimal amount of material and with minimal amount of wit,
without characters, plots, indeed with almost nothing but theatrical know-how -
pieces which give splendid opportunities to the composer, the scenic artist,
the costumier, the stage director and the performers, and end up with such
flattering and satisfactory results. And it is with this parade of dolls, this
presentation of slick situations reflecting the present time, that
Perrín and Palacios - most expert masters so much admired by the royalty
collectors - can laugh at the literary world ..." |
Specialising in revista (revue), they turned out a massive
quantity of librettos in all shapes and sizes for leading musicians of the day,
including Bretón (El clavel
rojo, 1899), Chapí (Pepe
Gallardo, 1898) and Caballero
(El saboyano, 1896); as well as younger composers such as Luna (La reina de los mercados, 1909).
Two of the revistas (revues) written with Miguel Nieto,
Certamen nacional (1888) and Cuadros disolventes (1896), were
particularly famous in their day. With Gerónimo Giménez, Nieto also
furnished the music for one of their most enduring successes, the amusing
backstage farce El barbero de Sevilla (1901).
With
Giménez they also enjoyed such short-lived triumphs as La
camarona (1903) and El general (1903); as well as the more durable
success of El husár de la guardia (1904), with additional music
provided by Amadeo Vives. With one
notable exception it is through Vives that their work is remembered today.
Aside from El husár de la guardia they provided him with the
repertory stalwarts Bohemios (1904)
and La generala (1912); as well as
all-but forgotten works such as La veda de amor (1912) and the
intriguingly titled Miss Australia (1914).
The exception is their most famous work of all, the biblical skit
La corte de Faraón (1910). This
was one of many pieces penned for the fertile Vicente Lleó, but it is the only one to
stand the test of time. Outrageously popular and eternally controversial - it
was banned for blasphemy by the Franco government - La corte de
Faraón displays the characteristic citric qualities of their best
work. As in all good light revue, the humour is silly without being stupid, the
satire is fresh but good-humoured; in addition, the libretto is tightly
constructed and offers succulent theatrical opportunities. Perrín y
Palacios show no signs of losing the popularity of their public just
yet.
* Established by Andrew Lamb in his
programme note for La generala (Teatro
de la Zarzuela 2008)
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Miguel de Palacios
(1863[?] -
1920)
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