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Cuban musical theatre has its own distinctive style and history. From the 18th century (at least) to modern times, popular theatrical performances included music and often dance as well. Many composers and musicians had their careers launched in the theatres, and many compositions got their first airing on the stage. In addition to staging some European operas and operettas, Cuban composers gradually developed ideas which better suited their creole audience. Characters on stages began to include elements from Cuban life, and the music began to reflect a fusion between African and European contributions. 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'',〔list of theatres in Orovio, Helio 1981. ''Diccionario de la música cubana''. p401 et seq.〕 Adolfo Colombo. Records show he recorded about 350 numbers between 1906 and 1917.〔Díaz Ayala, Cristóbal 1994. ''Cuba canta y baila: discografía de la música cubana 1898–1925''. p193 et seq. Colombo's last two recordings were in 1929 (Catalog of Cristóbal Díaz collection at Florida International University library)〕 The first theatre in Havana opened in 1775, called the ''Coliseo'', and later the ''Teatro Principal''.〔Robreño, Eduardo 1961. ''Historia del teatro popular cubano''. La Habana. p15〕 The first Cuban-composed opera appeared in 1807. Theatrical music was hugely important in the 19th century〔Leal, Rine 1986. ''Teatro del siglo XIX''. La Habana.〕 and 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. == Cuban theatre in the early 19th century == In 1810, says Alejo Carpentier, a Spanish company arrived in Havana that would perform for more than 22 years. This company had artists of serious merit.〔Carpentier, Alejo 2001 (). ''Music in Cuba''. Minneapolis MN. p172 et seq.〕 The troupe included Andrés Prieto (a famous actor), Manuel García (who played the villain), the singer María del Rosario Sabatini, Antonio Hermosilla and others. After a few months it was reinforced by more Spanish talent: Mariana Galino, Isabel Gamborino (the famous ''tonadilla''〔Spanish musical form of theatrical origin; not danced〕 singer), and her sister the ballerina Manuela Gamborino, whom Carpentier describes as "an agile and luscious bombshell who had the men of Havana in a spell." The life of some of these players was theatre itself: Marina Galino provoked her husband to jealousy, whereupon he stabbed her and left her for dead, finally slitting his own wrists. But the lady was not dead, and eventually recovered to give exhibitions of European dance styles, such as the bolero (Spanish style), minuets, gavots polkas, folías (Canary Islands), cachuchas (Andalusian solo song and dance), manchegas (from La Mancha), el pan de xarabe, el caballito jaleado and so on. Many of these were taught at Havana dance academies, but the contradanza and the waltz were the long-lasting favourites. Within twenty years of the contradanza arriving from abroad, it had begun to show signs of cubanization in its rhythm. This was the start of the fusion which eventually effected so much music and life generally in Cuba. A Cuban actor, Francisco Covarrubias, was a prominent member of the troupe, and figured on its posters. He was a basso buffo, and an author of entremeses (one-act farces), zarzuelas and sainetes. As the vogue for Spanish-style theatre waned, Covarrubias led the way to genuinely Cuban theatrical formats. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Cuban musical theatre」の詳細全文を読む スポンサード リンク
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