Tomás Bretón y Hernández Spanish composer and violinist born in Salamanca, Castilla y León, Spain on 29 December 1850 and died in Madrid 2 December 1923.
He made his first musical studies at the Escuela de Nobles y Bellas Artes de San Eloy in his home town, where he made a living playing in small provincial orchestras, theaters and churches. At 16, encouraged by the director Luis Rodríguez de Cepeda (1819-1889), who promised him a position in his orchestra, he moved to Madrid, where he played in orchestras of zarzuela theaters and continued his apprenticeship at the Real Conservatorio under the teachings of maestro Juan Pascual Antonio Emilio (de) Arrieta Corera/Emilio Arrieta (1821-1894). In 1872 he received, together with Ruperto Chapí Lorente (1851-1909), the first composition prize of the Conservatorio.
After several years working in small theaters in 1880 he was awarded a scholarship by the Academia de Bellas Artes de San Fernando to study abroad, residing in Rome, Milan, Vienna and Paris between 1881 and 1884. There he found time to work on more ambitious works, like the oratorio 'El Apocalipsis' and the opera "Los amantes de Teruel'. He had the protection of Guillermo Morphy y Ferriz de Guzmán, conde de Morphy (1836-1899), who helped him in his fight to stage 'Los amantes de Teruel'. The premiere of the latter at the Teatro Real in Madrid consolidated him as the main driver of Spanish opera.
He did intense work as an orchestra conductor, first in the Unión Artístico Musical (1878-1881), which he himself founded, as in the Sociedad de Conciertos de Madrid, the main Madrid orchestra he conducted between 1885 and 1891. He managed to consolidate the concert cycles in Madrid with open schedules to Spanish music and international news. In 1901 he assumed the direction of the Conservatorio de Madrid and re4mained there until his retirement in 1921, struggling to modernize the teachings of the center and seeking international relations.
Opera was the main thread of Tomás Bretón's career, although his intense activity led him to other fields, such as conductor, director of the Conservatorio de Madrid and prolific composer in underdeveloped fields in Spain such as symphonic and chamber music, in addition to performing numerous zarzuelas in very different genres and styles. However, the opera was his real obsession and he always had a libretto on which he worked. There are many writings in which he defended the importance of the national opera, writing between 1885 and 1919 brochures, conferences and speeches that he exhibited in the main cultural forums of his time, such as the Academia de Bellas Artes, Ateneo de Madrid, Círculo de Bellas Artes and of course the Conservatorio, of which he was director for more than twenty years. They always insist on the same ideas, criticizing the laziness and disinterest of the musical infrastructures of their time, and proposing options to solve the problem of national opera.
According to Bretón y Hernández, the fundamental feature is the use of Spanish, even proposing the translation of international repertoire, in the manner of other countries, such as Germany or England. However, this feature also favors the development of an own musical style, in which national themes and songs are integrated, without looking for any essence character, or any nationalistic mystique in the manner of Felip Pedrell Sabaté (1841-1922).
The defense of the national opera was not limited to the theoretical level, but throughout his life he composed a series of operas in which he practically presented his ideas. His first opera was 'Guzmán el Bueno' (1876), school work with a libretto by Antonio Arnao (1828-1889) . Even so, the premiere of this modest opera in one act was quite complicated, which evidenced the poor receptivity of Spanish theaters for the operatic genre. The availability of time to work facilitated by the scholarship of the Academy of Rome between 1881 and 1884, offered Bretón the possibility of facing a more complex and ambitious operatic work in "Los amantes de Teruel', which did not premiere until 1889 after a long controversy. The model chosen was that of the romantic melodrama of historical themes, inspired by a medieval legend, which by 1880 was already obsolete in European opera. Breton himself had to write the libretto in the absence of Spanish writers interested in opera. Even so, in his musical style he integrated the different operatic practices, synthesizing the Wagnerian currents with the Italian bel canto tradition. In this way, the preponderance of the voices - which always maintain the prominence - did not prevent a remarkable symphonic development, with an elaborate fabric of recurring themes as a leitmotiv. This influence may be paradoxical in view of some very critical comments with Wagner's work, such as those he wrote down in his diary during his stay in Vienna, although Breton only rejected the most modern aspects of Wagner's lyrical drama, especially the daring innovations harmonics In fact, the operatic model inspired by the Salamanca master is that of the romantic opera of the first period of Wagner, as is clearly demonstrated in his next opera, 'Garín o l'eremita di Montserrat' (1892), directly inspired by Tannhäuser. In this new work, commissioned by the Círculo del Liceo de Barcelona, his music showed a greater maturity with a marked tendency to break the closed structure of the numbers, in favor of an open lyric drama - articulated in scenes - closer to Wagnerian conceptions. Thus, in 'Garín o l’eremita di Montserrat', all the musical elements are integrated with greater success in the dramatic discourse, both in the symphonic and vocal aspects, in addition to some popular Catalan motifs.
In these first operatic works, Bretón used the European models - both Italian and Germanic - without worrying about the national character, except for small details of local color to characterize some situations. As stated in his writings, the national opera was based exclusively on the use of the national language, a concept that moved him away from Pedrell's ideas with the search for the spirit of popular songs. The emphasis on popular elements will emerge from contact with realistic aesthetics - which had its operatic correlation in verismo - in 'La Dolores' (1895), which he himself called "Spanish opera" for the first time. In 'La Dolores' the popular arises from the effort to represent on the scene the music that was used in the real environment in which the action takes place, which Bretón reproduces with the greatest fidelity; A clear example of this can be found in the famous jota at the end of the first act. But also the elements of popular music are fully integrated into the musical discourse, from small melodic details to the use of the “Andalusian” cadence in the most dramatic scenes, such as the Dolores and Melchor duos or the fight at the end of the opera. The relationship with verismo is also noted in the simplification of the musical discourse, which produces a greater prominence of the voices to the detriment of the elaborate symphonic plot of their previous operas, as evidenced by the scarcity of recurring themes and motives. In this way, 'La Dolores' was a break with its previous models, proposing an original adaptation of the veristas practices to Spanish music, as it happens throughout Europe in the final decade of the 19th century.
It is difficult to understand why Bretón did not continue in his next operatic work with the line initiated in 'La Dolores', which in addition to being a great public success had proved as successful as a national opera proposal. Thus, in 'Raquel' (1900) he returned to the models of the historical melodrama of his first works. Undoubtedly, Bretón chose the topics that seemed most dramatic, regardless of any prejudice about his national character. The Salamanca teacher saw on the subject of the bean of Toledo great possibilities to characterize musically the attractive love passion of the main characters framed in an environment that oscillated between the martial character of the Christian court and the exotic and orientalizing world of the Hebrews. In fact, the most original of 'Rachel' was this second element, developed both with the musical models of the so-called "symphonic alhambrismo" - like the masterly dances of the third act - and with the appropriate austerity of the Hebrew songs of the beginning. Breton himself described it as his "best opera", a comment that in view of the quality of the score seems quite reasonable, demonstrating that the harsh judgment - both of the public and the critics - with which it was received was the result of laziness from the Teatro Real to the national opera.
'Raquel' also meant a new negative experience with the Teatro Real, which did not pay him the few rights of representation that corresponded to him. Disinterest in Spanish opera in this theater reached its peak in the following years, especially during the conservative management of José Arana y Elizora (?-?). This left in a certain helplessness the national operatic productions, aggravated by the failure of the Teatro Lírico project. Even so, it is this situation that justifies the freedom of the last operatic works of Bretón, also helped by his favorable economic and social position, as a result of assuming the position of director of the Conservatorio de Madrid in 1901. Thus, in 'Farinelli' ( 1902) he explored historical music, with a recreation of the musical world of the famous castrato on anachronistic models of Classicism, without renouncing a musical language close to that of verismo for its expressive intensity. More original was the proposal of 'Don Gil de las calzas verdes' (completed 1910, released in 1914), in which he abandoned the drama for comedy in one of the few attempts to turn the Siglo de Oro/Golden Age theater into opera. Change of character is reflected in a lighter musical language, with a simpler and tonal music, which Bretón himself defined as "delicious." Very different was his last opera, 'Tabaré' (1913), an original project on the Uruguayan epic by Juan Zorrilla de San Martín (1855-1931), with a musical discourse strongly influenced by the Wagnerian Tristan and daring sonorities to characterize the Latin American environment. With all these titles, Bretón expressed his stylistic independence, the result of the maturity of his musical style, closing an operatic career that is unparalleled in any musician of his generation, both for its continuity and for the quality of his scores.
Zarzuelas
Los dos caminos, zarzuela en 1 acto estrenada en 1874 con libreto de Calixto Navarro.
El viaje de Europa, zarzuela en 2 actos (1874) con libreto de Feliú y Codina.
El alma en un hilo, zarzuela en 2 actos (1874) con libreto de Pedro Ponce y Juan Carranza.
El bautizo de Pepín (1874), en colaboración con el maestro Arche.
Dos leones, zarzuela en 2 actos en colaboración con Manuel Nieto), estrenada en el Teatro Romea de Madrid, el 30 de noviembre de 1874; texto de Salvador María Granés y Calixto Navarro.
María (1875), ópera en 2 actos (1875) con libreto de Navarro.
El 93 (1875), zarzuela en 1 acto con libreto de Navarro.
El inválido (1875), ópera en 1 acto con libreto de Navarro.
Un chaparrón de maridos, ópera en 1 acto (1875) con libreto de Rafael María Liern y Anselmo Pilá.
El barberillo de Orán, (1875)ópera en 3 actos, libreto de Rafael María Liern.
Por un cantar juguete (1875), sainet cómico lírico en 1 acto, libreto de Alejandro Vidal y Díaz.
El capitán Mendoza (1876), ópera en 2 actos con libreto de Luis de Olona y Gaeta.
Huyendo de ellas (1877), ópera en 2 actos.
Novio, padre y suegro (1877), ópera en 2 actos, libreto de Augusto E. Madan y García.
¡Cuidado con los estudiantes! (1877), ópera en 1 acto, libreto de Augusto E. Madan y García.
Estudiantes y alguaciles (1877), ópera en 1 acto, libreto de Augusto E. Madan y García.
Contar con la huéspeda o Locuras madrileñas, (1877), ópera en 1 acto, libreto de Luis Pérez.
Bonito país (1877), zarzuela en colaboración con Federico Chueca y Joaquín Valverde.
El campanero de Begoña, ópera en 3 actos (1878) con libreto de Mariano Pina Domínguez.
Corona contra Corona (1879), ópera en 3 actos, libreto de Navarro.
Las señoritas de Conil (1880), pasillo cómico lírico en 1 acto, libreto de R. Palomino de Guzmán.
Los amores de un príncipe (1881), ópera en 3 actos, libreto de José Sala y Ramiro Sirgue.
Vista y sentencia (1886), zarzuela bufa en 1 acto, libreto de Navarro y Granés.
El grito en el cielo (1886), ópera en 1 acto, libreto de Navarro.
Bal masqué (1888), ópera en 1 acto, libreto de Strauss y Bretón.
El caballo del señorito (1890), ópera en 1 acto, libreto de Ricardo de la Vega.
La verbena de la Paloma, sainete lírico en 1 acto en honor a las fiestas de la Paloma, es quizás su obra más famosa, fue estrenada el 17 de febrero de 1894; el libreto es de De la Vega..
El domingo de Ramos (1894), ópera en 1 acto, libreto de Miguel Echegaray.
Al fin se casa la Nieves (1895), ópera en 1 acto, libreto de De la Vega.
Botín de guerra (1896), zarzuela en 1 acto, libreto de Eusebio Sierra.
El guardia de corps (1897), ópera en 1 acto, libreto de Mariano Vela y Carlos Servet Fortunyo
El puente del diablo (1898), ópera en 1 acto, libreto de Mariano Vela y Carlos Servet Fortunyo
El reloj de cuco (1898), ópera en 1 acto, libreto de Manuel de Labra y Enrique Ayuso.
El clavel rojo (1899), ópera en 3 actos, libreto de Guillermo Perrín y Miguel de Palacios.
La cariñosa (1899), ópera en 1 acto, libreto de José Jackson Veyán.
Covadonga (1900), ópera en 3 actos, libreto de Marcos Zapata y Eusebio Sierra.
La bien plantá (1902-1904), ópera en 1 acto, libreto de Vela y Servet.
El ojo del amo (1901).
La paz del campo (1906), zarzuela-sainete en 1 acto, libreto de Enrique Vega.
El sueño de Regina (1906), ópera en 1 acto, libreto de Manuel Linares Rivas.
Felicidad (1907), ópera en 1 acto, libreto de Justo Huete.
Ya se van los quintos, madre (1908), ópera en 1 acto, libreto de Alfonso B. Alfaro.
La generosa (1909), ópera en 1 acto, libreto de Gabriel Merino.
Piel de oso (1909), ópera en 1 acto, libreto de José Luis Barbadillo y A. Custodio.
Al alcance de la mano (1911), ópera en 1 acto, libreto de Jorge y José de la Cueva.
Las percheleras (1911), ópera en 1 acto, libreto de Mihura y González del Toro.
Los húsares del Zar (1914), ópera en 1 acto, libreto de R. Campo, Avilés Meana y Carlos Rufart Camps.
La guitarra del amor (1914), fantasía musical en 1 acto, libreto de Perrín y de De Palacios.
Las cortes de amor o El trovador Lisardo (1914), opereta en 3 actos, libreto de Jacinto Soriano.
Fraile fingido (1919), ópera en 1 acto, libreto de Luceño.
He made his first musical studies at the Escuela de Nobles y Bellas Artes de San Eloy in his home town, where he made a living playing in small provincial orchestras, theaters and churches. At 16, encouraged by the director Luis Rodríguez de Cepeda (1819-1889), who promised him a position in his orchestra, he moved to Madrid, where he played in orchestras of zarzuela theaters and continued his apprenticeship at the Real Conservatorio under the teachings of maestro Juan Pascual Antonio Emilio (de) Arrieta Corera/Emilio Arrieta (1821-1894). In 1872 he received, together with Ruperto Chapí Lorente (1851-1909), the first composition prize of the Conservatorio.
After several years working in small theaters in 1880 he was awarded a scholarship by the Academia de Bellas Artes de San Fernando to study abroad, residing in Rome, Milan, Vienna and Paris between 1881 and 1884. There he found time to work on more ambitious works, like the oratorio 'El Apocalipsis' and the opera "Los amantes de Teruel'. He had the protection of Guillermo Morphy y Ferriz de Guzmán, conde de Morphy (1836-1899), who helped him in his fight to stage 'Los amantes de Teruel'. The premiere of the latter at the Teatro Real in Madrid consolidated him as the main driver of Spanish opera.
He did intense work as an orchestra conductor, first in the Unión Artístico Musical (1878-1881), which he himself founded, as in the Sociedad de Conciertos de Madrid, the main Madrid orchestra he conducted between 1885 and 1891. He managed to consolidate the concert cycles in Madrid with open schedules to Spanish music and international news. In 1901 he assumed the direction of the Conservatorio de Madrid and re4mained there until his retirement in 1921, struggling to modernize the teachings of the center and seeking international relations.
Opera was the main thread of Tomás Bretón's career, although his intense activity led him to other fields, such as conductor, director of the Conservatorio de Madrid and prolific composer in underdeveloped fields in Spain such as symphonic and chamber music, in addition to performing numerous zarzuelas in very different genres and styles. However, the opera was his real obsession and he always had a libretto on which he worked. There are many writings in which he defended the importance of the national opera, writing between 1885 and 1919 brochures, conferences and speeches that he exhibited in the main cultural forums of his time, such as the Academia de Bellas Artes, Ateneo de Madrid, Círculo de Bellas Artes and of course the Conservatorio, of which he was director for more than twenty years. They always insist on the same ideas, criticizing the laziness and disinterest of the musical infrastructures of their time, and proposing options to solve the problem of national opera.
According to Bretón y Hernández, the fundamental feature is the use of Spanish, even proposing the translation of international repertoire, in the manner of other countries, such as Germany or England. However, this feature also favors the development of an own musical style, in which national themes and songs are integrated, without looking for any essence character, or any nationalistic mystique in the manner of Felip Pedrell Sabaté (1841-1922).
The defense of the national opera was not limited to the theoretical level, but throughout his life he composed a series of operas in which he practically presented his ideas. His first opera was 'Guzmán el Bueno' (1876), school work with a libretto by Antonio Arnao (1828-1889) . Even so, the premiere of this modest opera in one act was quite complicated, which evidenced the poor receptivity of Spanish theaters for the operatic genre. The availability of time to work facilitated by the scholarship of the Academy of Rome between 1881 and 1884, offered Bretón the possibility of facing a more complex and ambitious operatic work in "Los amantes de Teruel', which did not premiere until 1889 after a long controversy. The model chosen was that of the romantic melodrama of historical themes, inspired by a medieval legend, which by 1880 was already obsolete in European opera. Breton himself had to write the libretto in the absence of Spanish writers interested in opera. Even so, in his musical style he integrated the different operatic practices, synthesizing the Wagnerian currents with the Italian bel canto tradition. In this way, the preponderance of the voices - which always maintain the prominence - did not prevent a remarkable symphonic development, with an elaborate fabric of recurring themes as a leitmotiv. This influence may be paradoxical in view of some very critical comments with Wagner's work, such as those he wrote down in his diary during his stay in Vienna, although Breton only rejected the most modern aspects of Wagner's lyrical drama, especially the daring innovations harmonics In fact, the operatic model inspired by the Salamanca master is that of the romantic opera of the first period of Wagner, as is clearly demonstrated in his next opera, 'Garín o l'eremita di Montserrat' (1892), directly inspired by Tannhäuser. In this new work, commissioned by the Círculo del Liceo de Barcelona, his music showed a greater maturity with a marked tendency to break the closed structure of the numbers, in favor of an open lyric drama - articulated in scenes - closer to Wagnerian conceptions. Thus, in 'Garín o l’eremita di Montserrat', all the musical elements are integrated with greater success in the dramatic discourse, both in the symphonic and vocal aspects, in addition to some popular Catalan motifs.
In these first operatic works, Bretón used the European models - both Italian and Germanic - without worrying about the national character, except for small details of local color to characterize some situations. As stated in his writings, the national opera was based exclusively on the use of the national language, a concept that moved him away from Pedrell's ideas with the search for the spirit of popular songs. The emphasis on popular elements will emerge from contact with realistic aesthetics - which had its operatic correlation in verismo - in 'La Dolores' (1895), which he himself called "Spanish opera" for the first time. In 'La Dolores' the popular arises from the effort to represent on the scene the music that was used in the real environment in which the action takes place, which Bretón reproduces with the greatest fidelity; A clear example of this can be found in the famous jota at the end of the first act. But also the elements of popular music are fully integrated into the musical discourse, from small melodic details to the use of the “Andalusian” cadence in the most dramatic scenes, such as the Dolores and Melchor duos or the fight at the end of the opera. The relationship with verismo is also noted in the simplification of the musical discourse, which produces a greater prominence of the voices to the detriment of the elaborate symphonic plot of their previous operas, as evidenced by the scarcity of recurring themes and motives. In this way, 'La Dolores' was a break with its previous models, proposing an original adaptation of the veristas practices to Spanish music, as it happens throughout Europe in the final decade of the 19th century.
It is difficult to understand why Bretón did not continue in his next operatic work with the line initiated in 'La Dolores', which in addition to being a great public success had proved as successful as a national opera proposal. Thus, in 'Raquel' (1900) he returned to the models of the historical melodrama of his first works. Undoubtedly, Bretón chose the topics that seemed most dramatic, regardless of any prejudice about his national character. The Salamanca teacher saw on the subject of the bean of Toledo great possibilities to characterize musically the attractive love passion of the main characters framed in an environment that oscillated between the martial character of the Christian court and the exotic and orientalizing world of the Hebrews. In fact, the most original of 'Rachel' was this second element, developed both with the musical models of the so-called "symphonic alhambrismo" - like the masterly dances of the third act - and with the appropriate austerity of the Hebrew songs of the beginning. Breton himself described it as his "best opera", a comment that in view of the quality of the score seems quite reasonable, demonstrating that the harsh judgment - both of the public and the critics - with which it was received was the result of laziness from the Teatro Real to the national opera.
'Raquel' also meant a new negative experience with the Teatro Real, which did not pay him the few rights of representation that corresponded to him. Disinterest in Spanish opera in this theater reached its peak in the following years, especially during the conservative management of José Arana y Elizora (?-?). This left in a certain helplessness the national operatic productions, aggravated by the failure of the Teatro Lírico project. Even so, it is this situation that justifies the freedom of the last operatic works of Bretón, also helped by his favorable economic and social position, as a result of assuming the position of director of the Conservatorio de Madrid in 1901. Thus, in 'Farinelli' ( 1902) he explored historical music, with a recreation of the musical world of the famous castrato on anachronistic models of Classicism, without renouncing a musical language close to that of verismo for its expressive intensity. More original was the proposal of 'Don Gil de las calzas verdes' (completed 1910, released in 1914), in which he abandoned the drama for comedy in one of the few attempts to turn the Siglo de Oro/Golden Age theater into opera. Change of character is reflected in a lighter musical language, with a simpler and tonal music, which Bretón himself defined as "delicious." Very different was his last opera, 'Tabaré' (1913), an original project on the Uruguayan epic by Juan Zorrilla de San Martín (1855-1931), with a musical discourse strongly influenced by the Wagnerian Tristan and daring sonorities to characterize the Latin American environment. With all these titles, Bretón expressed his stylistic independence, the result of the maturity of his musical style, closing an operatic career that is unparalleled in any musician of his generation, both for its continuity and for the quality of his scores.
Zarzuelas
Los dos caminos, zarzuela en 1 acto estrenada en 1874 con libreto de Calixto Navarro.
El viaje de Europa, zarzuela en 2 actos (1874) con libreto de Feliú y Codina.
El alma en un hilo, zarzuela en 2 actos (1874) con libreto de Pedro Ponce y Juan Carranza.
El bautizo de Pepín (1874), en colaboración con el maestro Arche.
Dos leones, zarzuela en 2 actos en colaboración con Manuel Nieto), estrenada en el Teatro Romea de Madrid, el 30 de noviembre de 1874; texto de Salvador María Granés y Calixto Navarro.
María (1875), ópera en 2 actos (1875) con libreto de Navarro.
El 93 (1875), zarzuela en 1 acto con libreto de Navarro.
El inválido (1875), ópera en 1 acto con libreto de Navarro.
Un chaparrón de maridos, ópera en 1 acto (1875) con libreto de Rafael María Liern y Anselmo Pilá.
El barberillo de Orán, (1875)ópera en 3 actos, libreto de Rafael María Liern.
Por un cantar juguete (1875), sainet cómico lírico en 1 acto, libreto de Alejandro Vidal y Díaz.
El capitán Mendoza (1876), ópera en 2 actos con libreto de Luis de Olona y Gaeta.
Huyendo de ellas (1877), ópera en 2 actos.
Novio, padre y suegro (1877), ópera en 2 actos, libreto de Augusto E. Madan y García.
¡Cuidado con los estudiantes! (1877), ópera en 1 acto, libreto de Augusto E. Madan y García.
Estudiantes y alguaciles (1877), ópera en 1 acto, libreto de Augusto E. Madan y García.
Contar con la huéspeda o Locuras madrileñas, (1877), ópera en 1 acto, libreto de Luis Pérez.
Bonito país (1877), zarzuela en colaboración con Federico Chueca y Joaquín Valverde.
El campanero de Begoña, ópera en 3 actos (1878) con libreto de Mariano Pina Domínguez.
Corona contra Corona (1879), ópera en 3 actos, libreto de Navarro.
Las señoritas de Conil (1880), pasillo cómico lírico en 1 acto, libreto de R. Palomino de Guzmán.
Los amores de un príncipe (1881), ópera en 3 actos, libreto de José Sala y Ramiro Sirgue.
Vista y sentencia (1886), zarzuela bufa en 1 acto, libreto de Navarro y Granés.
El grito en el cielo (1886), ópera en 1 acto, libreto de Navarro.
Bal masqué (1888), ópera en 1 acto, libreto de Strauss y Bretón.
El caballo del señorito (1890), ópera en 1 acto, libreto de Ricardo de la Vega.
La verbena de la Paloma, sainete lírico en 1 acto en honor a las fiestas de la Paloma, es quizás su obra más famosa, fue estrenada el 17 de febrero de 1894; el libreto es de De la Vega..
El domingo de Ramos (1894), ópera en 1 acto, libreto de Miguel Echegaray.
Al fin se casa la Nieves (1895), ópera en 1 acto, libreto de De la Vega.
Botín de guerra (1896), zarzuela en 1 acto, libreto de Eusebio Sierra.
El guardia de corps (1897), ópera en 1 acto, libreto de Mariano Vela y Carlos Servet Fortunyo
El puente del diablo (1898), ópera en 1 acto, libreto de Mariano Vela y Carlos Servet Fortunyo
El reloj de cuco (1898), ópera en 1 acto, libreto de Manuel de Labra y Enrique Ayuso.
El clavel rojo (1899), ópera en 3 actos, libreto de Guillermo Perrín y Miguel de Palacios.
La cariñosa (1899), ópera en 1 acto, libreto de José Jackson Veyán.
Covadonga (1900), ópera en 3 actos, libreto de Marcos Zapata y Eusebio Sierra.
La bien plantá (1902-1904), ópera en 1 acto, libreto de Vela y Servet.
El ojo del amo (1901).
La paz del campo (1906), zarzuela-sainete en 1 acto, libreto de Enrique Vega.
El sueño de Regina (1906), ópera en 1 acto, libreto de Manuel Linares Rivas.
Felicidad (1907), ópera en 1 acto, libreto de Justo Huete.
Ya se van los quintos, madre (1908), ópera en 1 acto, libreto de Alfonso B. Alfaro.
La generosa (1909), ópera en 1 acto, libreto de Gabriel Merino.
Piel de oso (1909), ópera en 1 acto, libreto de José Luis Barbadillo y A. Custodio.
Al alcance de la mano (1911), ópera en 1 acto, libreto de Jorge y José de la Cueva.
Las percheleras (1911), ópera en 1 acto, libreto de Mihura y González del Toro.
Los húsares del Zar (1914), ópera en 1 acto, libreto de R. Campo, Avilés Meana y Carlos Rufart Camps.
La guitarra del amor (1914), fantasía musical en 1 acto, libreto de Perrín y de De Palacios.
Las cortes de amor o El trovador Lisardo (1914), opereta en 3 actos, libreto de Jacinto Soriano.
Fraile fingido (1919), ópera en 1 acto, libreto de Luceño.
Tomás Bretón y Hernández Spanish composer and violinist born in Salamanca, Castilla y León, Spain on 29 December 1850 and died in Madrid 2 December 1923.
He made his first musical studies at the Escuela de Nobles y Bellas Artes de San Eloy in his home town, where he made a living playing in small provincial orchestras, theaters and churches. At 16, encouraged by the director Luis Rodríguez de Cepeda (1819-1889), who promised him a position in his orchestra, he moved to Madrid, where he played in orchestras of zarzuela theaters and continued his apprenticeship at the Real Conservatorio under the teachings of maestro Juan Pascual Antonio Emilio (de) Arrieta Corera/Emilio Arrieta (1821-1894). In 1872 he received, together with Ruperto Chapí Lorente (1851-1909), the first composition prize of the Conservatorio.
After several years working in small theaters in 1880 he was awarded a scholarship by the Academia de Bellas Artes de San Fernando to study abroad, residing in Rome, Milan, Vienna and Paris between 1881 and 1884. There he found time to work on more ambitious works, like the oratorio 'El Apocalipsis' and the opera "Los amantes de Teruel'. He had the protection of Guillermo Morphy y Ferriz de Guzmán, conde de Morphy (1836-1899), who helped him in his fight to stage 'Los amantes de Teruel'. The premiere of the latter at the Teatro Real in Madrid consolidated him as the main driver of Spanish opera.
He did intense work as an orchestra conductor, first in the Unión Artístico Musical (1878-1881), which he himself founded, as in the Sociedad de Conciertos de Madrid, the main Madrid orchestra he conducted between 1885 and 1891. He managed to consolidate the concert cycles in Madrid with open schedules to Spanish music and international news. In 1901 he assumed the direction of the Conservatorio de Madrid and re4mained there until his retirement in 1921, struggling to modernize the teachings of the center and seeking international relations.
Opera was the main thread of Tomás Bretón's career, although his intense activity led him to other fields, such as conductor, director of the Conservatorio de Madrid and prolific composer in underdeveloped fields in Spain such as symphonic and chamber music, in addition to performing numerous zarzuelas in very different genres and styles. However, the opera was his real obsession and he always had a libretto on which he worked. There are many writings in which he defended the importance of the national opera, writing between 1885 and 1919 brochures, conferences and speeches that he exhibited in the main cultural forums of his time, such as the Academia de Bellas Artes, Ateneo de Madrid, Círculo de Bellas Artes and of course the Conservatorio, of which he was director for more than twenty years. They always insist on the same ideas, criticizing the laziness and disinterest of the musical infrastructures of their time, and proposing options to solve the problem of national opera.
According to Bretón y Hernández, the fundamental feature is the use of Spanish, even proposing the translation of international repertoire, in the manner of other countries, such as Germany or England. However, this feature also favors the development of an own musical style, in which national themes and songs are integrated, without looking for any essence character, or any nationalistic mystique in the manner of Felip Pedrell Sabaté (1841-1922).
The defense of the national opera was not limited to the theoretical level, but throughout his life he composed a series of operas in which he practically presented his ideas. His first opera was 'Guzmán el Bueno' (1876), school work with a libretto by Antonio Arnao (1828-1889) . Even so, the premiere of this modest opera in one act was quite complicated, which evidenced the poor receptivity of Spanish theaters for the operatic genre. The availability of time to work facilitated by the scholarship of the Academy of Rome between 1881 and 1884, offered Bretón the possibility of facing a more complex and ambitious operatic work in "Los amantes de Teruel', which did not premiere until 1889 after a long controversy. The model chosen was that of the romantic melodrama of historical themes, inspired by a medieval legend, which by 1880 was already obsolete in European opera. Breton himself had to write the libretto in the absence of Spanish writers interested in opera. Even so, in his musical style he integrated the different operatic practices, synthesizing the Wagnerian currents with the Italian bel canto tradition. In this way, the preponderance of the voices - which always maintain the prominence - did not prevent a remarkable symphonic development, with an elaborate fabric of recurring themes as a leitmotiv. This influence may be paradoxical in view of some very critical comments with Wagner's work, such as those he wrote down in his diary during his stay in Vienna, although Breton only rejected the most modern aspects of Wagner's lyrical drama, especially the daring innovations harmonics In fact, the operatic model inspired by the Salamanca master is that of the romantic opera of the first period of Wagner, as is clearly demonstrated in his next opera, 'Garín o l'eremita di Montserrat' (1892), directly inspired by Tannhäuser. In this new work, commissioned by the Círculo del Liceo de Barcelona, his music showed a greater maturity with a marked tendency to break the closed structure of the numbers, in favor of an open lyric drama - articulated in scenes - closer to Wagnerian conceptions. Thus, in 'Garín o l’eremita di Montserrat', all the musical elements are integrated with greater success in the dramatic discourse, both in the symphonic and vocal aspects, in addition to some popular Catalan motifs.
In these first operatic works, Bretón used the European models - both Italian and Germanic - without worrying about the national character, except for small details of local color to characterize some situations. As stated in his writings, the national opera was based exclusively on the use of the national language, a concept that moved him away from Pedrell's ideas with the search for the spirit of popular songs. The emphasis on popular elements will emerge from contact with realistic aesthetics - which had its operatic correlation in verismo - in 'La Dolores' (1895), which he himself called "Spanish opera" for the first time. In 'La Dolores' the popular arises from the effort to represent on the scene the music that was used in the real environment in which the action takes place, which Bretón reproduces with the greatest fidelity; A clear example of this can be found in the famous jota at the end of the first act. But also the elements of popular music are fully integrated into the musical discourse, from small melodic details to the use of the “Andalusian” cadence in the most dramatic scenes, such as the Dolores and Melchor duos or the fight at the end of the opera. The relationship with verismo is also noted in the simplification of the musical discourse, which produces a greater prominence of the voices to the detriment of the elaborate symphonic plot of their previous operas, as evidenced by the scarcity of recurring themes and motives. In this way, 'La Dolores' was a break with its previous models, proposing an original adaptation of the veristas practices to Spanish music, as it happens throughout Europe in the final decade of the 19th century.
It is difficult to understand why Bretón did not continue in his next operatic work with the line initiated in 'La Dolores', which in addition to being a great public success had proved as successful as a national opera proposal. Thus, in 'Raquel' (1900) he returned to the models of the historical melodrama of his first works. Undoubtedly, Bretón chose the topics that seemed most dramatic, regardless of any prejudice about his national character. The Salamanca teacher saw on the subject of the bean of Toledo great possibilities to characterize musically the attractive love passion of the main characters framed in an environment that oscillated between the martial character of the Christian court and the exotic and orientalizing world of the Hebrews. In fact, the most original of 'Rachel' was this second element, developed both with the musical models of the so-called "symphonic alhambrismo" - like the masterly dances of the third act - and with the appropriate austerity of the Hebrew songs of the beginning. Breton himself described it as his "best opera", a comment that in view of the quality of the score seems quite reasonable, demonstrating that the harsh judgment - both of the public and the critics - with which it was received was the result of laziness from the Teatro Real to the national opera.
'Raquel' also meant a new negative experience with the Teatro Real, which did not pay him the few rights of representation that corresponded to him. Disinterest in Spanish opera in this theater reached its peak in the following years, especially during the conservative management of José Arana y Elizora (?-?). This left in a certain helplessness the national operatic productions, aggravated by the failure of the Teatro Lírico project. Even so, it is this situation that justifies the freedom of the last operatic works of Bretón, also helped by his favorable economic and social position, as a result of assuming the position of director of the Conservatorio de Madrid in 1901. Thus, in 'Farinelli' ( 1902) he explored historical music, with a recreation of the musical world of the famous castrato on anachronistic models of Classicism, without renouncing a musical language close to that of verismo for its expressive intensity. More original was the proposal of 'Don Gil de las calzas verdes' (completed 1910, released in 1914), in which he abandoned the drama for comedy in one of the few attempts to turn the Siglo de Oro/Golden Age theater into opera. Change of character is reflected in a lighter musical language, with a simpler and tonal music, which Bretón himself defined as "delicious." Very different was his last opera, 'Tabaré' (1913), an original project on the Uruguayan epic by Juan Zorrilla de San Martín (1855-1931), with a musical discourse strongly influenced by the Wagnerian Tristan and daring sonorities to characterize the Latin American environment. With all these titles, Bretón expressed his stylistic independence, the result of the maturity of his musical style, closing an operatic career that is unparalleled in any musician of his generation, both for its continuity and for the quality of his scores.
Zarzuelas
Los dos caminos, zarzuela en 1 acto estrenada en 1874 con libreto de Calixto Navarro.
El viaje de Europa, zarzuela en 2 actos (1874) con libreto de Feliú y Codina.
El alma en un hilo, zarzuela en 2 actos (1874) con libreto de Pedro Ponce y Juan Carranza.
El bautizo de Pepín (1874), en colaboración con el maestro Arche.
Dos leones, zarzuela en 2 actos en colaboración con Manuel Nieto), estrenada en el Teatro Romea de Madrid, el 30 de noviembre de 1874; texto de Salvador María Granés y Calixto Navarro.
María (1875), ópera en 2 actos (1875) con libreto de Navarro.
El 93 (1875), zarzuela en 1 acto con libreto de Navarro.
El inválido (1875), ópera en 1 acto con libreto de Navarro.
Un chaparrón de maridos, ópera en 1 acto (1875) con libreto de Rafael María Liern y Anselmo Pilá.
El barberillo de Orán, (1875)ópera en 3 actos, libreto de Rafael María Liern.
Por un cantar juguete (1875), sainet cómico lírico en 1 acto, libreto de Alejandro Vidal y Díaz.
El capitán Mendoza (1876), ópera en 2 actos con libreto de Luis de Olona y Gaeta.
Huyendo de ellas (1877), ópera en 2 actos.
Novio, padre y suegro (1877), ópera en 2 actos, libreto de Augusto E. Madan y García.
¡Cuidado con los estudiantes! (1877), ópera en 1 acto, libreto de Augusto E. Madan y García.
Estudiantes y alguaciles (1877), ópera en 1 acto, libreto de Augusto E. Madan y García.
Contar con la huéspeda o Locuras madrileñas, (1877), ópera en 1 acto, libreto de Luis Pérez.
Bonito país (1877), zarzuela en colaboración con Federico Chueca y Joaquín Valverde.
El campanero de Begoña, ópera en 3 actos (1878) con libreto de Mariano Pina Domínguez.
Corona contra Corona (1879), ópera en 3 actos, libreto de Navarro.
Las señoritas de Conil (1880), pasillo cómico lírico en 1 acto, libreto de R. Palomino de Guzmán.
Los amores de un príncipe (1881), ópera en 3 actos, libreto de José Sala y Ramiro Sirgue.
Vista y sentencia (1886), zarzuela bufa en 1 acto, libreto de Navarro y Granés.
El grito en el cielo (1886), ópera en 1 acto, libreto de Navarro.
Bal masqué (1888), ópera en 1 acto, libreto de Strauss y Bretón.
El caballo del señorito (1890), ópera en 1 acto, libreto de Ricardo de la Vega.
La verbena de la Paloma, sainete lírico en 1 acto en honor a las fiestas de la Paloma, es quizás su obra más famosa, fue estrenada el 17 de febrero de 1894; el libreto es de De la Vega..
El domingo de Ramos (1894), ópera en 1 acto, libreto de Miguel Echegaray.
Al fin se casa la Nieves (1895), ópera en 1 acto, libreto de De la Vega.
Botín de guerra (1896), zarzuela en 1 acto, libreto de Eusebio Sierra.
El guardia de corps (1897), ópera en 1 acto, libreto de Mariano Vela y Carlos Servet Fortunyo
El puente del diablo (1898), ópera en 1 acto, libreto de Mariano Vela y Carlos Servet Fortunyo
El reloj de cuco (1898), ópera en 1 acto, libreto de Manuel de Labra y Enrique Ayuso.
El clavel rojo (1899), ópera en 3 actos, libreto de Guillermo Perrín y Miguel de Palacios.
La cariñosa (1899), ópera en 1 acto, libreto de José Jackson Veyán.
Covadonga (1900), ópera en 3 actos, libreto de Marcos Zapata y Eusebio Sierra.
La bien plantá (1902-1904), ópera en 1 acto, libreto de Vela y Servet.
El ojo del amo (1901).
La paz del campo (1906), zarzuela-sainete en 1 acto, libreto de Enrique Vega.
El sueño de Regina (1906), ópera en 1 acto, libreto de Manuel Linares Rivas.
Felicidad (1907), ópera en 1 acto, libreto de Justo Huete.
Ya se van los quintos, madre (1908), ópera en 1 acto, libreto de Alfonso B. Alfaro.
La generosa (1909), ópera en 1 acto, libreto de Gabriel Merino.
Piel de oso (1909), ópera en 1 acto, libreto de José Luis Barbadillo y A. Custodio.
Al alcance de la mano (1911), ópera en 1 acto, libreto de Jorge y José de la Cueva.
Las percheleras (1911), ópera en 1 acto, libreto de Mihura y González del Toro.
Los húsares del Zar (1914), ópera en 1 acto, libreto de R. Campo, Avilés Meana y Carlos Rufart Camps.
La guitarra del amor (1914), fantasía musical en 1 acto, libreto de Perrín y de De Palacios.
Las cortes de amor o El trovador Lisardo (1914), opereta en 3 actos, libreto de Jacinto Soriano.
Fraile fingido (1919), ópera en 1 acto, libreto de Luceño.
He made his first musical studies at the Escuela de Nobles y Bellas Artes de San Eloy in his home town, where he made a living playing in small provincial orchestras, theaters and churches. At 16, encouraged by the director Luis Rodríguez de Cepeda (1819-1889), who promised him a position in his orchestra, he moved to Madrid, where he played in orchestras of zarzuela theaters and continued his apprenticeship at the Real Conservatorio under the teachings of maestro Juan Pascual Antonio Emilio (de) Arrieta Corera/Emilio Arrieta (1821-1894). In 1872 he received, together with Ruperto Chapí Lorente (1851-1909), the first composition prize of the Conservatorio.
After several years working in small theaters in 1880 he was awarded a scholarship by the Academia de Bellas Artes de San Fernando to study abroad, residing in Rome, Milan, Vienna and Paris between 1881 and 1884. There he found time to work on more ambitious works, like the oratorio 'El Apocalipsis' and the opera "Los amantes de Teruel'. He had the protection of Guillermo Morphy y Ferriz de Guzmán, conde de Morphy (1836-1899), who helped him in his fight to stage 'Los amantes de Teruel'. The premiere of the latter at the Teatro Real in Madrid consolidated him as the main driver of Spanish opera.
He did intense work as an orchestra conductor, first in the Unión Artístico Musical (1878-1881), which he himself founded, as in the Sociedad de Conciertos de Madrid, the main Madrid orchestra he conducted between 1885 and 1891. He managed to consolidate the concert cycles in Madrid with open schedules to Spanish music and international news. In 1901 he assumed the direction of the Conservatorio de Madrid and re4mained there until his retirement in 1921, struggling to modernize the teachings of the center and seeking international relations.
Opera was the main thread of Tomás Bretón's career, although his intense activity led him to other fields, such as conductor, director of the Conservatorio de Madrid and prolific composer in underdeveloped fields in Spain such as symphonic and chamber music, in addition to performing numerous zarzuelas in very different genres and styles. However, the opera was his real obsession and he always had a libretto on which he worked. There are many writings in which he defended the importance of the national opera, writing between 1885 and 1919 brochures, conferences and speeches that he exhibited in the main cultural forums of his time, such as the Academia de Bellas Artes, Ateneo de Madrid, Círculo de Bellas Artes and of course the Conservatorio, of which he was director for more than twenty years. They always insist on the same ideas, criticizing the laziness and disinterest of the musical infrastructures of their time, and proposing options to solve the problem of national opera.
According to Bretón y Hernández, the fundamental feature is the use of Spanish, even proposing the translation of international repertoire, in the manner of other countries, such as Germany or England. However, this feature also favors the development of an own musical style, in which national themes and songs are integrated, without looking for any essence character, or any nationalistic mystique in the manner of Felip Pedrell Sabaté (1841-1922).
The defense of the national opera was not limited to the theoretical level, but throughout his life he composed a series of operas in which he practically presented his ideas. His first opera was 'Guzmán el Bueno' (1876), school work with a libretto by Antonio Arnao (1828-1889) . Even so, the premiere of this modest opera in one act was quite complicated, which evidenced the poor receptivity of Spanish theaters for the operatic genre. The availability of time to work facilitated by the scholarship of the Academy of Rome between 1881 and 1884, offered Bretón the possibility of facing a more complex and ambitious operatic work in "Los amantes de Teruel', which did not premiere until 1889 after a long controversy. The model chosen was that of the romantic melodrama of historical themes, inspired by a medieval legend, which by 1880 was already obsolete in European opera. Breton himself had to write the libretto in the absence of Spanish writers interested in opera. Even so, in his musical style he integrated the different operatic practices, synthesizing the Wagnerian currents with the Italian bel canto tradition. In this way, the preponderance of the voices - which always maintain the prominence - did not prevent a remarkable symphonic development, with an elaborate fabric of recurring themes as a leitmotiv. This influence may be paradoxical in view of some very critical comments with Wagner's work, such as those he wrote down in his diary during his stay in Vienna, although Breton only rejected the most modern aspects of Wagner's lyrical drama, especially the daring innovations harmonics In fact, the operatic model inspired by the Salamanca master is that of the romantic opera of the first period of Wagner, as is clearly demonstrated in his next opera, 'Garín o l'eremita di Montserrat' (1892), directly inspired by Tannhäuser. In this new work, commissioned by the Círculo del Liceo de Barcelona, his music showed a greater maturity with a marked tendency to break the closed structure of the numbers, in favor of an open lyric drama - articulated in scenes - closer to Wagnerian conceptions. Thus, in 'Garín o l’eremita di Montserrat', all the musical elements are integrated with greater success in the dramatic discourse, both in the symphonic and vocal aspects, in addition to some popular Catalan motifs.
In these first operatic works, Bretón used the European models - both Italian and Germanic - without worrying about the national character, except for small details of local color to characterize some situations. As stated in his writings, the national opera was based exclusively on the use of the national language, a concept that moved him away from Pedrell's ideas with the search for the spirit of popular songs. The emphasis on popular elements will emerge from contact with realistic aesthetics - which had its operatic correlation in verismo - in 'La Dolores' (1895), which he himself called "Spanish opera" for the first time. In 'La Dolores' the popular arises from the effort to represent on the scene the music that was used in the real environment in which the action takes place, which Bretón reproduces with the greatest fidelity; A clear example of this can be found in the famous jota at the end of the first act. But also the elements of popular music are fully integrated into the musical discourse, from small melodic details to the use of the “Andalusian” cadence in the most dramatic scenes, such as the Dolores and Melchor duos or the fight at the end of the opera. The relationship with verismo is also noted in the simplification of the musical discourse, which produces a greater prominence of the voices to the detriment of the elaborate symphonic plot of their previous operas, as evidenced by the scarcity of recurring themes and motives. In this way, 'La Dolores' was a break with its previous models, proposing an original adaptation of the veristas practices to Spanish music, as it happens throughout Europe in the final decade of the 19th century.
It is difficult to understand why Bretón did not continue in his next operatic work with the line initiated in 'La Dolores', which in addition to being a great public success had proved as successful as a national opera proposal. Thus, in 'Raquel' (1900) he returned to the models of the historical melodrama of his first works. Undoubtedly, Bretón chose the topics that seemed most dramatic, regardless of any prejudice about his national character. The Salamanca teacher saw on the subject of the bean of Toledo great possibilities to characterize musically the attractive love passion of the main characters framed in an environment that oscillated between the martial character of the Christian court and the exotic and orientalizing world of the Hebrews. In fact, the most original of 'Rachel' was this second element, developed both with the musical models of the so-called "symphonic alhambrismo" - like the masterly dances of the third act - and with the appropriate austerity of the Hebrew songs of the beginning. Breton himself described it as his "best opera", a comment that in view of the quality of the score seems quite reasonable, demonstrating that the harsh judgment - both of the public and the critics - with which it was received was the result of laziness from the Teatro Real to the national opera.
'Raquel' also meant a new negative experience with the Teatro Real, which did not pay him the few rights of representation that corresponded to him. Disinterest in Spanish opera in this theater reached its peak in the following years, especially during the conservative management of José Arana y Elizora (?-?). This left in a certain helplessness the national operatic productions, aggravated by the failure of the Teatro Lírico project. Even so, it is this situation that justifies the freedom of the last operatic works of Bretón, also helped by his favorable economic and social position, as a result of assuming the position of director of the Conservatorio de Madrid in 1901. Thus, in 'Farinelli' ( 1902) he explored historical music, with a recreation of the musical world of the famous castrato on anachronistic models of Classicism, without renouncing a musical language close to that of verismo for its expressive intensity. More original was the proposal of 'Don Gil de las calzas verdes' (completed 1910, released in 1914), in which he abandoned the drama for comedy in one of the few attempts to turn the Siglo de Oro/Golden Age theater into opera. Change of character is reflected in a lighter musical language, with a simpler and tonal music, which Bretón himself defined as "delicious." Very different was his last opera, 'Tabaré' (1913), an original project on the Uruguayan epic by Juan Zorrilla de San Martín (1855-1931), with a musical discourse strongly influenced by the Wagnerian Tristan and daring sonorities to characterize the Latin American environment. With all these titles, Bretón expressed his stylistic independence, the result of the maturity of his musical style, closing an operatic career that is unparalleled in any musician of his generation, both for its continuity and for the quality of his scores.
Zarzuelas
Los dos caminos, zarzuela en 1 acto estrenada en 1874 con libreto de Calixto Navarro.
El viaje de Europa, zarzuela en 2 actos (1874) con libreto de Feliú y Codina.
El alma en un hilo, zarzuela en 2 actos (1874) con libreto de Pedro Ponce y Juan Carranza.
El bautizo de Pepín (1874), en colaboración con el maestro Arche.
Dos leones, zarzuela en 2 actos en colaboración con Manuel Nieto), estrenada en el Teatro Romea de Madrid, el 30 de noviembre de 1874; texto de Salvador María Granés y Calixto Navarro.
María (1875), ópera en 2 actos (1875) con libreto de Navarro.
El 93 (1875), zarzuela en 1 acto con libreto de Navarro.
El inválido (1875), ópera en 1 acto con libreto de Navarro.
Un chaparrón de maridos, ópera en 1 acto (1875) con libreto de Rafael María Liern y Anselmo Pilá.
El barberillo de Orán, (1875)ópera en 3 actos, libreto de Rafael María Liern.
Por un cantar juguete (1875), sainet cómico lírico en 1 acto, libreto de Alejandro Vidal y Díaz.
El capitán Mendoza (1876), ópera en 2 actos con libreto de Luis de Olona y Gaeta.
Huyendo de ellas (1877), ópera en 2 actos.
Novio, padre y suegro (1877), ópera en 2 actos, libreto de Augusto E. Madan y García.
¡Cuidado con los estudiantes! (1877), ópera en 1 acto, libreto de Augusto E. Madan y García.
Estudiantes y alguaciles (1877), ópera en 1 acto, libreto de Augusto E. Madan y García.
Contar con la huéspeda o Locuras madrileñas, (1877), ópera en 1 acto, libreto de Luis Pérez.
Bonito país (1877), zarzuela en colaboración con Federico Chueca y Joaquín Valverde.
El campanero de Begoña, ópera en 3 actos (1878) con libreto de Mariano Pina Domínguez.
Corona contra Corona (1879), ópera en 3 actos, libreto de Navarro.
Las señoritas de Conil (1880), pasillo cómico lírico en 1 acto, libreto de R. Palomino de Guzmán.
Los amores de un príncipe (1881), ópera en 3 actos, libreto de José Sala y Ramiro Sirgue.
Vista y sentencia (1886), zarzuela bufa en 1 acto, libreto de Navarro y Granés.
El grito en el cielo (1886), ópera en 1 acto, libreto de Navarro.
Bal masqué (1888), ópera en 1 acto, libreto de Strauss y Bretón.
El caballo del señorito (1890), ópera en 1 acto, libreto de Ricardo de la Vega.
La verbena de la Paloma, sainete lírico en 1 acto en honor a las fiestas de la Paloma, es quizás su obra más famosa, fue estrenada el 17 de febrero de 1894; el libreto es de De la Vega..
El domingo de Ramos (1894), ópera en 1 acto, libreto de Miguel Echegaray.
Al fin se casa la Nieves (1895), ópera en 1 acto, libreto de De la Vega.
Botín de guerra (1896), zarzuela en 1 acto, libreto de Eusebio Sierra.
El guardia de corps (1897), ópera en 1 acto, libreto de Mariano Vela y Carlos Servet Fortunyo
El puente del diablo (1898), ópera en 1 acto, libreto de Mariano Vela y Carlos Servet Fortunyo
El reloj de cuco (1898), ópera en 1 acto, libreto de Manuel de Labra y Enrique Ayuso.
El clavel rojo (1899), ópera en 3 actos, libreto de Guillermo Perrín y Miguel de Palacios.
La cariñosa (1899), ópera en 1 acto, libreto de José Jackson Veyán.
Covadonga (1900), ópera en 3 actos, libreto de Marcos Zapata y Eusebio Sierra.
La bien plantá (1902-1904), ópera en 1 acto, libreto de Vela y Servet.
El ojo del amo (1901).
La paz del campo (1906), zarzuela-sainete en 1 acto, libreto de Enrique Vega.
El sueño de Regina (1906), ópera en 1 acto, libreto de Manuel Linares Rivas.
Felicidad (1907), ópera en 1 acto, libreto de Justo Huete.
Ya se van los quintos, madre (1908), ópera en 1 acto, libreto de Alfonso B. Alfaro.
La generosa (1909), ópera en 1 acto, libreto de Gabriel Merino.
Piel de oso (1909), ópera en 1 acto, libreto de José Luis Barbadillo y A. Custodio.
Al alcance de la mano (1911), ópera en 1 acto, libreto de Jorge y José de la Cueva.
Las percheleras (1911), ópera en 1 acto, libreto de Mihura y González del Toro.
Los húsares del Zar (1914), ópera en 1 acto, libreto de R. Campo, Avilés Meana y Carlos Rufart Camps.
La guitarra del amor (1914), fantasía musical en 1 acto, libreto de Perrín y de De Palacios.
Las cortes de amor o El trovador Lisardo (1914), opereta en 3 actos, libreto de Jacinto Soriano.
Fraile fingido (1919), ópera en 1 acto, libreto de Luceño.
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