Ana Margarita Martínez-Casado Torralbas

Soprano and actress, descendant of a notable family of Cuban theater, daughter of Luis Manuel Martínez-Casado and Margot Torralbas and niece of the lyric tenor and actor Mario Martínez-Casado.

In the decades of the 1950s and 1960s she worked for Cuban television and lyric theater. She participated in the opera seasons of the Sociedad Pro Arte Musical —Cuban premiere of the operas Amahl and the Night Visitors, Suor Angélica and Angélique— and in zarzuela and operetta companies that visited Havana. I

She successfully performed La duquesa del Bal Tabarin, La viuda alegre, El conde de Luxemburgo, Los gavilanes, Molinos de viento, Luisa Fernanda and Cecilia Valdés, among many other titles. She also performed, always as a lyric performer, on television and nightclubs.

In the 1960s she settled abroad and is currently a member of the Repertorio Español theatrical company in New York, with which she made a visit to Cuba in 1998, after many years of absence.

She was born, practically, on a stage among the long list of artists descended from one of the two most important theatrical families of Cuba. Her participation and introduction into theatrical work was not a matter of chance, but rather her destiny. The Martínez-Casado family represents, along with the Robreño family, a great dynasty of Hispanic-American theater. She was surrounded by music and theater from the moment she came into the world.

The legacy of the Martínez-Casado family begins with her paternal great-grandfather who directed a theatrical company and was father to six children. His daughter, Luisa, showed so much talent and promised so much as an actress that her father sent her to Spain to continue her studies. In Spain she was a student of Matilde Díez at the Madrid Conservatory, she was greatly celebrated for her art, premiering, among others, some works by Echegaray. Later she returned to Cuba and formed her own theatrical company. So much so that in Cienfuegos there is a theater that bears her name.

Her grandfather, Manuel, married actress Celia Adams, who in turn came from a distinguished family of Camagüey; they worked in Luisa Martínez Casado's Spanish theater company and developed their talents. The theater was sold later in great haste because Manuel did not want any of his eight children to follow in his footsteps. This proved futile, for all eight became actors of great fame. Celia married very young and became an actress. Victor and Margot joined Olinda Bozán's theatrical company and went to live in Argentina. Mario became a famous comedian, Luisa worked behind the scenes as a producer, Marta was recognized for her beautiful voice and became a very popular star on radio, theater, and later on television, Juan José was first a baritone and later a famous actor who became a pioneer of Mexican cinema and Luis Manuel, who was the father of Ana Margarita, was a highly respected and beloved actor, writer and director.

Thus, in the Cuban lyric world, she was the niece of the wonderful actor and comic tenor Mario Martínez Casado and the fourth generation of a notable theatrical family.

At the age of 12 years, immersed in academic studies, her mother wanted her to study piano. Everyone in the family encouraged her to go to her great-aunt María Adams, who lived nearby, to take lessons, but her specialty was voice and not piano. Nevertheless, she offered to work with her despite her age and evaluate her talent. She soon began singing in recitals for the family and friends of the teacher's students.

When she was 17 years old, her teacher began working on mounting a zarzuela so that the students could demonstrate their talents. After a year of preparation, she debuted in a version of Luisa Fernanda that was very successful and earned her a contract with CMQ, the most powerful television company in Cuba.

Her professional debut was in 1952 in the program "El gran teatro ESSO" of CMQ, as 'Ketty' in La Duquesa de Bal Tabarín with Marianela Barandalla (Frou-Frou), Tomás Álvarez (Octavio) and Pedrito Fernández (Sofía) with musical direction by Gonzalo Roig.

Still in the early days of her career, at age 22, she played 'Mimosa' in a television production broadcast on Thursday, July 31, 1952: La geisha, an operetta by Sidney Jones, and she sang it with Rosita Fornés (Molly), Conchita Brando (Juliette), María Marqués (Lady Constance), Miguel de Grandy (Fairfax), Antonio Palacios (Wun-Hi), Armando Bianchi (Imary).

It was a TV version by Carlos Irigoyen Sierra for the Gran Teatro Esso slot. The general direction was by Ernesto Casas, the musical direction by Gonzalo Roig, the stage direction by Antonio Palacios, the scenography by Luis Márquez, the interior decoration by Rubén Vigón, the costumes by Finzi and the production by Carlos Irigoyen.

She premiered in Cuba on January 5, 1954 at the Teatro Auditórium in Havana, Amahl and the Night Visitors by Menotti, in the role of 'Amahl'. It was a production by the Sociedad Pro Arte Musical in which Marta Pérez was 'The Mother', José le Matt (Melchor), Ernesto Rosell (Gaspar) and Carlos F. Ledón (Baltasar). The baton was conducted by Paul Csonka and the production was by Serge Vermel.

On January 15, 1955 she participated in the Cuban premiere of Suor Angélica and did so as 'Sor Genoveva' at the Teatro Auditórium, with the rest being Margarita Zambrana (Sor Angelica), Marta Pérez (The Princess Aunt), Mercedes Aldama (Abbess), Gladys Puig (Sacristan), Carmen Godoy (Novice Mistress), Berta González (Conversa 1st), Lucía Ortega (Conversa 2nd), Carmen Rosa Quijano (Sor Dulcina), Matilde Ros (Sor Osmina), Yolanda Miró (Almswoman 1st), Ofelia Sirgo (Almswoman 2nd) and Xenia Melcom (Novice). Paul Csonka conducted.

Also at the Teatro Auditórium she sang on February 6, 1957 the role of 'Angelique' in the Cuban premiere of the opera of the same title by Jacques Ibert. Accompanied by Ana Menéndez, Marina del Valle, Matilde Ros, Elisa Montes, Daniel Escudero, Humberto Diez, José Le Matt, Jesús Hernández, Sergio Auleo and Carlos Enrique.

Among her participations in lyric theater, her participation in the season that the Spanish company Aguilá-Martelo made in 1958 in the Martí and Auditórium theaters is of great importance.

The importance of this season can be described as Enrique Río does: It was something historic for the success with the public, in a period of political crisis when they were setting off bombs at performances. Professional scenic debuts and as leading figures in zarzuela by Armando Pico, María Remolá, Ramón Calzadilla and Ana Margarita. Some had done opera (Ana Margarita), others had worked as amateurs (Pico) and others in very minor roles (Calzadilla).

As we recount what our soprano sang, we will emphasize the historical importance of each character who performed with her.

On Friday, April 25 it all began with the opening of the season at the Teatro Martí. In it she played 'Rosaura' in Los gavilanes alongside Rosina Toledo, who debuted in Cuba that day, and who played 'Adriana'. Alberto Aguilá was 'Juan', the returned colonist; Alfredo Fernández, who was also making his Cuban debut, played 'Gustavo' the young man who ends up confronting the colonist and his wealth; in the roles of less lyric substance but great theatrical importance were: Mario Martínez Casado, Antonio Martelo, Sara López and Armando Soler. The musical direction was in charge of Gerardo Tomás.

It continued on Sunday, April 27 and, unless otherwise stated, in the same theater. In an afternoon performance she played 'Carola' in La alegría de la huerta with Antonio Martelo (Heriberto), Armando Pico (Alegrías), Mario Martínez Casado (El Caja), Armando Soler (Uncle Piporro), Coqui García (Troncho).

The same evening she sang the role of 'Margot' in Molinos de viento with Sara López (Sabina), Alberto Aguilá (Alberto), Mario Martínez Casado (Romo), Antonio Martelo (Cabo Stock) with musical direction by Gerardo Tomás and stage direction by Antonio Martelo.

The program La alegría de la huerta and Molinos de viento was repeated with the latter remaining unchanged and in the former Armando Pico was replaced by Alfredo Fernández in the role of 'Alegrías' and Ramón Calzadilla appears in that of 'Juan Francisco'.

She rested with this company until Friday, May 2 when she was again 'Rosaura' in Los gavilanes with Maruja González, who reappeared after a traffic accident and who played 'Adriana', Alberto Aguilá was 'Juan', Armando Pico (Gustavo), Sara López (Renata), Esperanza Vázquez (Leontina), Antonio Martelo (Clariván), Mario Martínez Casado (Triquet), Armando Soler (Camilo) and musical direction by Gonzalo Roig.

She performed again on May 9, 10 and 11 as 'Valencienne' in La viuda alegre with Maruja González (Ana), Mario Martínez Casado (Baron Mirko Zeta), Alberto Aguilá (Danilo), Panchito Naya (Rosillón), Antonio Martelo (Niegus). The musical direction this time was by Gonzalo Roig, the stage direction was in charge of Antonio Martelo, the designs were by Andrés and the dance corps was by Elvirita López and Luis Trápaga. In this work she sang and danced the Can-Can.

The production of Los gavilanes was repeated on the 14th with the same cast as the 2nd, changing only the musical director who was again Gerardo Tomás.

On May 19 and 21 she played 'Lota' in La corte de Faraón with Blanca de Lis (The Queen), Margot Tarraza (Raquel), Teresita Silva (Ra, Sul), Amalia García (Sel), Esperanza Vázquez (Ta), Antonio Martelo (The Great Pharaoh), Mario Martínez Casado (Casto José), Juan Amorós (General Putifar), Reinaldo Fernández (The Cupbearer of H.M.), Reinaldo Alvar (The High Priest), Octavio Álvarez (Ismael), Coqui García (Selha), Armando Soler (Seti).

On May 23, 29 and June 15 she moved to operetta and sang 'Ángela Didier' in El conde de Luxemburgo with Teresita Silva (Julieta), Sara López (Natalia), Alberto Aguilá (René), Mario Martínez Casado (Armando), Antonio Martelo (Prince Basilio). The musical direction was by Gonzalo Roig, the stage direction by Antonio Martelo, the choreography by Gustavo Roig and Luis Trápaga and the designs by Andrés.

She changed roles on Tuesday, June 10. This time she played the unhappy 'Luisa Fernanda' in Luisa Fernanda accompanied by Rosina Toledo who played the fickle 'Duchess Carolina', Alberto Aguilá who was the rich and gentlemanly Extremaduran 'Vidal Hernando', Antonio Vela was the roguish military man 'Javier Moreno', Sara López (Mariana), Mario Martínez Casado (Aníbal), Antonio Martelo (Don Floro). Musical director Gerardo Tomás.

La viuda alegre was repeated, with the same cast as before, on June 13 with the addition that the choreography was by Gustavo Roig and Luis Trápaga, and the soloists who danced the can-can were Ana Margarita Martínez Casado and Freddy Manjón.

This phrase is from a photo caption in the press in which she appears, lifted by her dance partners, in the triumphal finale of the can-can:

La viuda alegre performed thirteen times in an unsurpassable manner. The can-can with which the third act closed allowed the ballet of Luis Trápaga full scope for imagination and good taste and gave Ana Margarita Martínez Casado the opportunity to demonstrate another brilliant facet of her valuable artistic personality.

Cuban zarzuela had its turn, with due importance, on Wednesday the 18th and was performed until Sunday the 22nd.

It was Cecilia Valdés in which she played 'Isabel Ilincheta'. She was accompanied by Maruja González, who was 'Cecilia Valdés'; Miguel de Grandy who played 'Leonardo Gamboa'; Alberto Aguilá, who premiered "Dulce quimera" on this occasion, was 'José Dolores Pimienta'; Teresita Silva (The slave Dolores), Antonio Martelo (Don Melitón), Mario Martínez Casado (Tirso), Blanca Becerra (Dolores Santa Cruz), Ramón Calzadilla (Slave), Nidia Sarol (Doña Rosa), Enrique de la Torre (Don Cándido).

For the first time since its premiere it was presented with new scenography designs by Andrés. The furniture, lamps and carriage were from Galerías Adeca. The ballets were in charge of Elvirita López and Luis Trápaga. The choreography was done by Gustavo Roig and Luis Trápaga. The stage direction was by Antonio Martelo and the musical direction corresponded, by right of authorship, to Gonzalo Roig.

The cast we have reflected is that of the first performance; in subsequent performances the protagonist was performed by Blanca Varela and Rosina Toledo with the exception and anecdote that we now comment on.

At the performance on June 22, the last at the Martí, our protagonist was to play the role of 'Cecilia' and for that they had to find an 'Isabel Ilincheta' but when no one appeared to do it, Maestro Roig solved the problem quickly: she played 'Cecilia' first and 'Isabel' later to return to being 'Cecilia' at the moment of the wedding, which is the only time the two characters appear together. How was the problem solved? Well, in the simplest way: by putting a veil on the chorus girl who appeared as the newly married woman and, since she has no lines, 'Cecilia' could perform her role without problems. Thus it was that Ana Margarita Martínez Casado, with great nerves and with pleas to all the heavenly court, sang the double role of 'Cecilia Valdés' and 'Isabel Ilincheta' in the same performance.

We changed theaters on Saturday, July 5 and went to the Auditórium where a subscription had been prepared, in whose 5th performance our soprano was again 'Rosaura' in Los gavilanes with Maruja González (Adriana), Sara López (Renata), Alberto Aguilá (Juan), Agustín Godoy (Gustavo), Antonio Martelo (Clariván), Mario Martínez Casado (Triquet), Armando Soler (Camilo). Musical direction by Gonzalo Roig.

Finally, on Monday, July 7, 1958, Cecilia Valdés was presented at the Teatro Auditórium as the 6th subscription performance with the cast from the Martí, previously mentioned, in which she was again 'Isabel Ilincheta'.

On January 20, 1960 La viuda alegre was broadcast on television, another of her productions for this medium, in which she played 'Ana de Glavary' alongside María Marcos (Valencienne), Miguel de Grandy (Count Danilo), Miguel Ángel Castro (Rosillón), Armando Soler (Mirko Zeta), Mario Martínez Casado (Niegus), Orlando Hernández (Zancada), Waldo González (Saint Brioche), Alberto Palanca (Kromow).

It was a TV adaptation by Ricardo Durán for Channel 2 Telemundo that was produced in Otto Sirgo Productions with the general direction by Miguel de Grandy, the musical direction by Humberto Suárez, the scenography by Juan Suárez, the production by Gerardo Pallarés and the choreography by Gustavo Roig.

She presented herself, always as a lyric performer, besides in theater and television, in nightclub entertainment centers.

In 1960 she left Cuba to participate in some concerts for two weeks at the Hotel San Juan in Puerto Rico. She carried only two suitcases and her little daughter Ana—the result of her first marriage to Cuban neurosurgeon Antonio Valdés Rodriguez from whom she was already divorced—which proves that she had no idea she would not return to her country for nearly 40 years.

While in San Juan, she received an invitation to perform with the Tropicana ensemble in Mexico, so she moved to that country. She lived in Monterrey where she continued her career in theater, radio and television acting in soap operas, operas, comedies, dramas and films with the best Mexican actors such as María Félix, David Reynoso and Cantinflas. She spent a season performing in the musical Hello Dolly, with Libertad Lamarque, produced by Manolo Fábregas.

During that time she married her theater colleague, tenor Chamaco García, also Cuban, with whom she had another daughter, Beatriz.

After 10 years in Mexico the family moved to Miami where she began at the famous Restaurant "Los violines" as a waitress who also sang in the musical show, work that allowed her to survive and establish herself in Miami.

Later, Cuban soprano Marta Pérez, who was relocated in Miami and had formed a large theatrical company specialized in musicals and lyric works, invited her to be part of it. During that time she acted in productions such as The King and I, Luisa Fernanda, Cecilia Valdés, La tabernera del puerto and The Man of La Mancha while participating in radio and television programs.

She continued caring for her voice with Manolo Cabrera although, over time, she acted mainly as an actress. In Miami she joined Repertorio Español where she performed in light comedies such as Private Lives, Don Juan Tenorio and Los fantásticos.

Also in Miami she participated for five years in ¿Qué pasa USA?, a television series that, despite starting with very limited resources, was so successful that it became the standard show among Hispanic emigrants of south Florida. Although it was produced for local consumption in Miami, the series of 39 episodes ended up being broadcast in 144 cities in the United States and in numerous countries. In Ecuador it reached one of the top audience ratings.

Her role was 'Juana Peña' and her colleagues were: Manolo Villaverde (Pepe Peña), Ana Margarita Menéndez (Carmen), Fred Mason (Michael), Hilda Wilde (Mrs. Peabody), Rocky Echevarría (Joe), Luis Oquendo (Antonio), Velia Martínez (Adela), Connie Ramírez (Violeta) and Bárbara Ann Martin (Sharon Robinson). In specific episodes, actors such as Andy García, Norma Zúñiga and Chamaco García were guest stars.

This performance earned her the EMMY Award for Best Individual Talent of South Florida.

When ¿Qué Pasa USA? concluded, she acted in the film by Leon Ichaso, El Super, whose theme is the life of Cubans exiled in New York.

Having lived in Miami for 11 years, the theatrical company Repertorio Español with which she had worked during her early years at the Bellas Artes Theater on Eighth Street, invited her to join their cast in New York, where she decided to settle in 1981.

With the dramatic company Teatro Repertorio Español (TRE) in New York, she made a visit to Cuba in September 1998, after 38 years of absence. It was in the Hubert de Blanck hall with the work they had performed dozens of times in New York, Revoltillo by Cuban Eduardo Machado and she performed it alongside fellow Cubans Ricardo Barber, René Sánchez and Carlos Mena. The director was also another exiled Cuban: René Buch. The cast also included Puerto Rican Miriam Colón and a Colombian, Sabrina.

This return to Cuba which, undoubtedly, had its political connotations as it was the result of an attempt at rapprochement that began with culture and did not continue, cost Ana Margarita the cancellation of her contract for advertising announcements with the Panamericano Hospital in Miami. (See El Nuevo Herald of August 14 and October 2, 1998)

With this TRE company she has acted in New York as 'Poncia' in The House of Bernarda Alba, 'The Mother' in Blood Wedding and the 'Aunt' in Doña Rosita the Spinster. Also in contemporary theatrical works such as La Gringa, The Passion According to Antigona Pérez, Parece Blanca, Revoltillo and others.

She is in possession of numerous awards, including that from the Association of Theater Critics for Best Supporting Actress in 1986 and 87, the Special Theater Award in 1995, the Extraordinary Award for her Artistic Career in 2005.

She resides in New York, where she continues to work tirelessly with the Repertorio Español Theater company.

Divorced from her second husband before leaving Miami. Her daughters Ana and Beatriz, as well as her little granddaughter Ana-Nicole, are her great pride and joy.

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The Panart label defined her this way in the presentation of her record "Así cantaba Cuba", recorded in 1955:

Among the new stars in our field, the exquisite figure of Ana Margarita Martínez Casado undoubtedly stands out, with a well-timbered voice and exquisite accent, with her own personality that has earned her a foremost position among all.

Born in an artistic environment, in a family where they have made art their profession, it is hardly strange that this charming young figure felt drawn to it.

Her artistic career has been vertiginous; in just a few years she has climbed until today, unquestionably, to be the most delightful voice we hear. Her charming figure has been an invaluable ornament on all the stages where she has performed, and the deep and caressing voice she possesses has delighted all who have heard her.

Today, PANART records, attentive once again to satisfy the tastes of its public, presents this album to you, where you can fully enjoy Ana Margarita Martínez-Casado, which is to say melody and soul.

Source: Viva la Voz.net