Synonyms for teatro_circo or Related words with teatro_circo

teatro_español              las_ventas              recinto_ferial              bajo_el_signo              huércal              las_cortes              catalunya_barcelona              teatro_lope              gran_teatro              vías              música_del_liceu              ómnibus              maestranza              teatro_calderón              centro_andaluz              trabajos              espaços              tetuán              fossar              març              chinitas              el_trato              precios              sant_carles              las_fuentes              teatre              art_contemporani              pobla              museo_del_palacio              exposiciones              sucesores              operadora              politica_literaria              telas              salvanés              sarrià_barcelona              salón_internacional              arte_reina_sofía              la_comunitat              la_ràpita              música_electroacústica              palau_esports              los_mozos              campo_pequeno              factoría              llobregat_catalonia              sant_quirze              arte_contemporánea              cibeles              alges             

Examples of "teatro_circo"
Venturino also formed the Chilean circus troupe, Las Águilas Humanas (in English, "the human eagles") during an earlier era in which the space was dubbed Teatro Circo (or Circus Theatre) for its circus schedule.
Around July 1984, the CENA "Companhia Profissional de Teatro de Braga" is established, and in 1987, the group signed an accord with the Teatro Circo, to occupy space in the great hall.
Maria Isbert died at the Villarrobledo Hospital in Villarrobledo, Albacete province, Castile-La Mancha, Spain, on 25 April 2011, at the age of 94. A memorial was held at the Teatro Circo in Albacete.
There have been other frontones also called Beti Jai in Barcelona, San Sebastián and Logroño. the San Sebastianan was subsequently the Teatro Circo and disappeared with a fire occurred in 1913.
His success is overwhelming, and he prolonged his stays in Portugal and increased the sessions. However, when Rousby proceeded with his tour to the Teatro-Circo Príncipe Real, in Oporto, the animated photograph also gained a professional who would go on to found Portuguese cinema: Aurélio da Paz dos Reis.
On the night of San Juan in 1975 (day of the patron of the city), the song was re-released at the Teatro Circo de Albacete by the Albacete Municipal Band and the La Mancha Choir, becoming a hallmark of the capital.
The first film was presented on 27 June 1911: "Aventuras de Catalina": this was the beginning of a six-year rental agreement with the "Sociedade do Teatro Circo". Theatre production was eventually succeeded by the circus, when the "Companhia Equestre de W. Frediani" began residing in the new hall between 27 May and 13 June 1915. In 1917, the administration of the Theatre Circo acquired the shares of the "São Geraldo", selling the building to the Banco de Portugal. Between August 1919 and February 1920, the contractors closed the theatre in order to remodel the main hall. The first opera was sung in 1922. Three years later (January 1925), the rental contract came to maturity, and the Teatro Circo returned to direct administration by the "Sociedade".
In 1988, the municipal council acquired the building of the Teatro Circo for 300$000 contos. Around 2000, new remodelling under the supervision of Sérgio Borges (budgeted at around 2.6 million contos) with funds from European Union and Ministry of Culture ("Rede Nacional de Teatros e Cine-Teatros" and "Rede Municipal de Espaços Culturais") partnerships: the rejuvenated Circo was re-inaugurated on 27 October 2006.
James A. Gähres conducted concerts at the LA PALMA FESTIVAL DE MÚSICA at the Teatro Circo de Marte, Santa Cruz de La Palma in June 2016. On June 15, 2016 a symphony concert with Ludwig van Beethoven's "Symphony No. 7" and the "Violin Concerto No. 1" by Max Bruch, another concert on June 18, 2016 with "The Hebrides" by Felix Mendelssohn, Camille Saint-Saëns's "Cello Concerto No. 1" and the "Piano Concerto No. 1" in D minor, Op. 15 by Johannes Brahms.
Main facade facing east, of five panels, those at the extreme ends indented, at the level of the upper register. Its centre is marked, by panel stone, with three arched doors, surmounted by balcony topped by lintel, on large corbels, with wrought iron guard. Three doors open at the level of the balcony, each between Ionic columns with wreaths, supporting a cornice, limited by two figureheads with frieze decorated with phytomorphic elements. In turn, the freizes crown a cornice topped sculpted urns, limited by step pyramids. The inscription on the frieze of the principal facade, decorated in phytomorphic elements in bronze, is the title "TEATRO CIRCO".
Her first publication was in 1874 in a local journal. In 1876, her first poetry based drama titled "Rienzi el tribuno" premiered at the Teatro Circo de Madrid, which received wide acclaim. In this drama, she presented in poetry form, a tragic theme highlighting the struggles that the Roman tribune Cola di Rienzo had to go through to bring to fore ancient Rome's greatness. In 1877, she published the play called "Amor a la patria" ("Love of Country"), depicting women's heroism as part of the peasants struggle against Napoleon Bonaparte's rule.
The need for a new theatre had already become manifest in the artistic community around 1906. At the time the small "São Geraldo Theatre" (along the "Avenida Central" with "Rua dos Chãos") was the only space used for theatre and cinema, but the larger Portuguese theatre companies could not stage any of their theatrical presentations in the limited stage. Artur José Soares, José António Velosos and Cândido Martins Iiderarm formed the "Sociedade do Teatro Circo", and began collecting the materials from the demolished Convent on 16 December 1907.
On October 1927, the administrative council of the Teatro Circo ended its direct administration of the theatre, which passed to José Luís da Costa, a businessman from the Theatre Garrett in Póvoa de Varzim. As a result in 1928, the first Portuguese cinema began appearing in the theatre, including "Fátima Milagrosa" and "O Primo Basílio", and in October 1930, the first talking pictures, with the reel "O Cantor Louco". In 1933, the theatre began running as a concession of José Luís da Costa's businesses, which brought different programs alternating between theatre, circus, cinema and musicals.
Hidalgo was born in Binondo, Manila on February 21, 1855. He was the third of seven children of Eduardo Resurrección Hidalgo and Maria Barbara Padilla. He studied in the University of Santo Tomas. He studied law, which he never finished, received a bacheller en filosifia in March 1871. He was simultaneously enrolled at the Escuela de Dibujo y Pintura. In 1876, he previewed his "La barca (The Native Boat)", "Vendedora de lanzones (Lanzones Vendor)" and other paintings at the Teatro Circo de Bilibid before they were sent to the Centennial Exposition in Philadelphia, Pennsylvania of that year. In 1878, he painted the poignant and well-crafted "Los mendigos (The Beggars)".
The Paseo de la Libertad leads from the Place of the Hill to the north of the city. In the Paseo de la Libertad notable buildings such as the Provincial Palace Hotel Regina Albacete or lie. The route crosses the street Isaac Peral, where the Teatro Circo de Albacete is located. The Paseo de la Libertad ends at the Plaza of The Sower, which are landmarks such as The Sower, the Fountain of the Frogs, the Child Fuente de la Oca, the Linear Park and the Tower of the Ministry of Education. Throughout the Linear Park highlights as the flour mill, the locomotive Mikado Albacete, Paseo of the Planets or the wooden bridge they are located.
Forty years later, the Spanish conductor Max Bragado-Darman prepared a new critical edition of the score, excerpts of which were performed in Murcia in a concert at the Teatro Circo de Orihuela on 23 March 2002 during the Festival Internacional de Orquestas de Jóvenes (International Festival of Youth Orchestras). In 2003 the score was then used for a fully staged production in Ireland at the Wexford Opera Festival. The production which opened on 23 October 2003 at the Theatre Royal, Wexford marked the first and (so far) only fully staged performances of "María del Carmen" outside Spain. The Wexford production was conducted by Max Bragado-Darman with stage direction by Sergio Vela and Diana Veronese in the title role. The most recent performance, although in concert version only, took place at the Gran Teatre del Liceu on 19 February 2006. It was conducted by Josep Caballé-Domènech with Ana María Sánchez in the title role.
Early 1931, Myrtle appeared in Madrid's Lido Cabaret with Red Hot Coals Jazz Orchestra. She might have been invited by famous Spanish author and lyricist, Alvaro Retana, who was known to introduce black jazz musicians into Spain. Retana mentioned that Mytle performed semi-nude, imitating the Spanish dancer Carmen Tortola Valencia, under the name "Perla de Oriente". In April, the show stopped as the Spanish monarchy came an end. King Alfonso XIII had abdicated his throne peacefully and boarded a train to Paris for exile, celebrations filled the streets across Spain. Her appearances were a large success and instead of returning to Paris, signed a contract in June for the Ideal-Rosales Cabaret a few blocks away. It can be occasionally difficult to find where she was performing, as her name was constantly misspelled. Appearing with her at the cabaret was Argentine singer-guitarist Alfredo Marino and his partner, Hector Morel. During the summer, the trio packed up for a tour of northern Spain. While in San Sebastián, the director took the cast of the show down to the beach, where reporters remarked seeing Myrtle as a black Venus emerging from the waters. Upon returning to Madrid, she appeared at the Alcazar-Dancing in a large variety show, with Morel & Morino, occasionally joining Harry Flemming and his band in the Jardin Retiro. She later moved onto the Casanova En Stambul and the Teatro-Circo Price. Late October, she left for Barcelona to appear at the Eden Concert, Circo Barcelones and Buena Sombra music hall for the winter. While there, she worked closely with the Afro-Uruguayan singer "Caruso Negro" (Oscar Rorra). She also recorded several songs with the Barcelona Compañía del Gramófono.