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From the 18th century (at least) to modern times, popular theatrical formats used, and gave rise to, music and dance. Many famous composers and musicians had their careers launched in the theatres, and many famous compositions got their first airing on the stage. In addition to staging some European operas and operettas, Cuban composers gradually developed ideas that better suited their audience. Recorded music was to be the couduit for Cuban music to reach the world. The most recorded artist in Cuba up to 1925 was a singer at the Alhambra, Adolfo Colombo. Records show he recorded about 350 numbers between 1906 and 1917.
The first theatre in Havana opened in 1776. The first Cuban-composed opera appeared in 1807. Theatrical music was hugely important in the 19th centuryand the first half of the 20th century; its significance only began to wane with the change in political and social weather in the second part of the 20th century. Radio, which began in Cuba in 1922, helped the growth of popular music because it provided publicity and a new source of income for the artists.
Zarzuela is a small-scale light operetta format. Starting off with imported Spanish content (List of zarzuela composers), it developed into a running commentary on Cuba’s social and political events and problems. Zarzuela has the distinction of providing Cuba’s first recordings: the soprano Chalía Herrera (1864–1968) made, outside Cuba, the first recordings by a Cuban artist. She recorded numbers from the zarzuela Cadíz in 1898 on unnumbered Bettini cylinders.
Zarzuela reached its peak in the first half of the 20th century. A string of front-rank composers such as Gonzalo Roig, Eliseo Grenet, Ernesto Lecuona and Rodrigo Prats produced a series of hits for the Regina and Martí theatres in Havana. Great stars like the vedette Rita Montaner, who could sing, play the piano, dance and act, were the Cuban equivalents of Mistinguett and Josephine Baker in Paris. Some of the best known zarzuelas are La virgen morena (Grenet), La Niña Rita (Grenet and Lecuona), María la O, El batey, Rosa la China (all Lecuona); Gonzalo Roig with La Habana de noche; Rodrigo Prats with Amalia Batista and La perla del caribe; and above all, Cecilia Valdés (the musical of the most famous Cuban novel of the 19th century, with music by Roig and script by Prats and Agustín Rodríguez). Artists who were introduced to the public in the lyric theatre include Caridad Suarez, María de los Angeles Santana, Esther Borja and Ignacio Villa, who had such a round, black face that Rita Montaner called him Bola de Nieve (‘Snowball’).
Cuban Bufo theatre is an example: a form of comedy, ribald and satirical, with stock figures imitating types that might be found anywhere in the country. Bufo had its origin around 1800-15 as an older form, tonadilla, began to vanish from Havana. Francisco Covarrubias the ‘caricaturist’ (1775–1850) was its creator. Gradually, the comic types threw off their European models and became more and more creolized and Cuban. Alongside, the music followed. Argot from slave barracks and poor barrios found its way into lyrics that are those of the guaracha:
Una mulata me ha muerto! Y no prendan a esa mulata? Como ha de quedar hombre vivo si no prendan a quien matar! La mulata es como el pan; se deber como caliente, que en dejandola enfriar ni el diablo le mete el diente! (A mulata’s done for me! What’s more, they don’t arrest her! How can any man live If they don’t take this killer? A mulatta is like fresh bread You gotta eat it while it’s hot If you leave it till it’s cool Even the devil can’t get a bite!) So the bufo theatre became the birthplace of the typically Cuban musical form, the guaracha.
Other theatrical forms
Vernacular theatre of various types often includes music. Formats rather like the British Music Hall, or the American Vaudeville, still occur, where an audience is treated to a pot-pourri of singers, comedians, bands, sketches and speciality acts. Even in cinemas during the silent movies, singers and instrumentalists appeared in the interval, and a pianist played during the films. Bola de Nieve and María Teresa Vera played in cinemas in their early days. Burlesque was also common in Havana before 1960.
The guaracha is a genre of rapid tempo and with lyrics. It originated in Bufo comic theatre in the mid-19th century, and during the early 20th century was often played in the brothels of Havana. The lyrics were full of slang, and dwelt on events and people in the news. Rhythmically, guaracha exhibits a series of rhythm combinations, such as 6/8 with 2/4.
Many of the early trovadores, such as Manuel Corona (who worked in a brothel area of Havana), composed and sung guarachas as a balance for the slower boleros and canciónes. The satirical lyric content also fitted well with the son, and many bands played both genres. In the mid-20th century the style was taken up by the conjuntos and big bands as a type of up-tempo music. Today it seems no longer to exist as a distinct musical form; it has been absorbed into the vast maw of Salsa. Singers who can handle the fast lyrics and are good improvisors are called guaracheros or guaracheras.