|  GuillermoPerrín y Vico was born in Malaga in 1857, a nephew of the greatactorAntonio Vico, and died in Madrid in 1923.Miguel dePalacios was born in Gijón (possibly) in 1863 and studied medicine,but abandoned his first career to become a writer. Besides the zarzuelaswritten with Perrín he also wrote historical dramas and poetry. He diedin Gijón (not Covadonga as often cited*) in 1920. In public characterPalacios was serious and moody, Perrín witty and bright. Together theyformed an indissoluble literary union, to the extent that many people believedPerrín 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, includingBretón (El clavel rojo, 1899),Chapí (Pepe Gallardo, 1898) andCaballero (El saboyano, 1896); as well as younger composers such asLuna (La reina de los mercados, 1909). Two of therevistas (revues) written withMiguel Nieto,Certamen nacional (1888) andCuadros disolventes (1896), were particularly famous in their day. WithGerónimo Giménez, Nieto also furnished the music for one of their most enduring successes, the amusing backstage farceEl barbero de Sevilla (1901). WithGiménez they also enjoyed such short-lived triumphs asLacamarona (1903) andEl general (1903); as well as the more durablesuccess ofEl husár de la guardia (1904), with additional musicprovided byAmadeo Vives. With onenotable exception it is through Vives that their work is remembered today.Aside fromEl husár de la guardia they provided him with therepertory stalwartsBohemios (1904)andLa generala (1912); as well asall-but forgotten works such asLa veda de amor (1912) and theintriguingly titledMiss Australia (1914). The exception is their most famous work of all, the biblical skitLa corte de Faraón (1910). Thiswas one of many pieces penned for the fertileVicente Lleó, but it is the only one tostand the test of time. Outrageously popular and eternally controversial - itwas banned for blasphemy by the Franco government -La corte deFaraón displays the characteristic citric qualities of their bestwork. As in all good light revue, the humour is silly without being stupid, thesatire is fresh but good-humoured; in addition, the libretto is tightlyconstructed and offers succulent theatrical opportunities.Perrín yPalacios show no signs of losing the popularity of their public justyet.
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