It is 1920 and Pilar Alonso, a singer of popular songs and very famous in those days, performs one cuplé after another and scores such a success that at the end of the show she has exhausted her repertoire of pieces in Spanish. The public demands more and then Pilar begins to sing Les caramelles, a cuplé in Catalan newly composed by Càndida Pérez and already very popular in Catalonia. The audience is wildly enthusiastic and from that moment on cuplés in Catalan become all the rage and are sung in every corner of the country.
By then Càndida is 27 years old and boasts a wide experience in theatre style songs. She has not only starred in shows in her native town of Olot, but has also worked in Italy under contract of an Italian vaudeville company directed by Melquiadez Lucarelli Ferri.
After this tour she returns to Catalonia, to fulfill her dream and study music and composition in Barcelona. Together with Lucarelli she founds an academy of song and dance, specialising in music hall shows in the ‘Carrer de Valldonzella, 6’. In the same premises a musical production company is established enabling Càndida to make some records.
Her fame is spreading when Raquel Meller, the most famous cupletista and a great friend of Càndida, sings some of her cuplés in Catalan and Spanish and performs for the first time her version of El noi de la mare in L’Olympia in Paris in 1919. Some years later the American production company Paramount organizes a European tour for her debut in Paris which becomes a huge success with songs like Marieta de l’ull viu.
One things leads to another and a tour through South-America makes such and impression on her that she decides to stay in Argentina and even adopts this nationality. After her marriage to Brasilian born industrial and artist Luiz Fossati Ferri they move to Brasil and Càndida puts an end to her career. After her husband’s death she returns to Catalonia and the city of her youth Olot.
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