Mateo P. Guitart

This largely forgotten zarzuela tenor had a good reputation at his time, and a career at least from the early 1920s into the 1960s. He had, from the very beginning, the interesting concept of forming his own companies, not continuously, but repeatedly, and to act as both impresario and first tenor. Already in 1922, he appeared with such a troupe at the Teatro de la Unión Liberal in Granollers. In 1926, he organized a season at the Teatro Goya in Barcelona with such a company – a season that was obviously a fiasco (it seems he had hired people who normally tried to earn their money as street musicians on Barcelona's famous main street Rambla, but I'm not entirely sure about that). He had his proper company again in 1932 for a season at the Teatro Lara in Madrid, where they premiered a "frivolous" new zarzuela that Fernando Moreno Torroba had written for them: La mujer de aquella noche. And he had his own company also in 1942 at the Teatro Alcázar in Barcelona.

Other than that, he was – in the second half of the 1920s – a member of the company of Eugenia Zuffoli; he sang at the Teatre Victoria in Barcelona (with Marcos Redondo), at the Apolo in Madrid (for a longer period in 1933) or at the Teatro Nuevo in Havana (Cuba).

In the 1950s and 1960s, he appeared in films: La alegre caravana (1953), La reina mora (1955), Juanillo, papá y mamá (1957), Carta a una mujer (1963).