María Conesa
| María Conesa | |
|---|---|
María Conesa, 1912
|
|
| Born |
María Conesa December 12, 1892 Vinaròs, Spain |
| Died | September 4, 1978 (aged 85) Mexico City, México |
| Nationality | Mexican |
| Other names | La Gatita Blanca |
| Occupation | Actress |
| Years active | 1901–1978 |
| Spouse(s) | Manuel Sanz |
María Conesa, also known as La Gatita Blanca (The White Kitten) (December 12, 1892 – September 9, 1978), was a Spanish-born Mexican stage, television, film actress and vedette. She was one of the principal stars of the Revue and Vaudeville in México and Latin America in the early 20th century.
She began her career in Spain in the stage company named Aurora Infantil with her sister Teresita. Both highlighted in many plays. This caused that the actress La Zarina, jealous of the success of the girls ordered her murder. Teresita died stabbed on the spot, and María was saved by a miracle. Overcome the tragedy, María's father did everything possible to make her a big star.
She arrived to Mexico in 1901 with a company of children actors who played zarzuelas at the Teatro Principal. Later she doing a small role in La verbena de la Paloma. In, 1907 she was presented at the Teatro Albisu of Havana (Cuba), with La Gatita Blanca (The White Kitten), getting an overwhelming success. She took the nickname of La Gatita Blanca for the rest of her life. Her major success did not originate from her vocal powers but the playfulness of her performances in the dances, accompanied by suggestive lyrics, caused the sense in the public.
She returned to Mexico in 1907 consecrated her as the very first vaudeville star by the public of Barcelona and Havana. She appearing again in the Teatro Principal with her ultimate creation: La Gatita Blanca. She is also known as the little mother of the Spanish for her generosity to the poor Spanish indigents. Her other big hits were La alegre trompetería and Las musas latinas. Her popularity was so great that even a political party with her name was created: the PCE (Partido Conesista Estudiantil), which defended her of the attacks of the public and the press. In 1909 debuted at the Teatro Colón, with scandals and severe criticism in the press.
Political events in Mexico made her return to Spain in 1912, but she was an institution in Mexico, and returned in 1914 with a great excitement by review and public. She reappeared with the play La niña besucona although her greatest success of that season was La bella Lucerito.
...
Wikipedia