Salvador Videgain Gómez

Salvador Videgain Gómez (1845–1906) was a Spanish actor, singer, producer and composer.

Videgain married actress Antonia García de Videgain in 1868 and founded the family artistic Videgain. They had two children: Antonio Videgain (born 1869) and Salvador VidegainJr. (born February 26, 1886). His grand son was Antonio Videgain Reparaz, and the descendant of Salvador jr Juan José Videgain.

Videgain was born in Málaga in 1845. He is of Spanish, English, Irish and Basque ancestry. His family relocated often, as his father worked at different jobs along the Coast. He later transferred to Cadiz, where he began acting in dramas. Flores y abrojos was the beginning in Gibraltar. 1866 was a great year for him and his future wife. Their production moved to smaller village in Andalucía, Spain.

In the 1870s the famous titles included Abel y Cain, Tocar el violón, Un viaje de mil demonios, El ultimo figurin, Fausto, Dos leones, 4 sacristanes, El duende, El barberillo de Lavapiés, La catedral de Colonia, El triste Chactas,El fantasma de la aldea, De Herodes a Pilatos and La salsa de aniceta.

In 1880, Videgain played the lead role in the comedy Entre dos tíos.The title was a commercial failure, but was appreciated by critics. He later appeared in Entre dos platos and Música clásica, his most successful play of the decade.Meterse en Honduras 1983. At this point, Videgain and wife were receiving 60% of all profits in their company. Videgain and Antonia, José Talavera and others worked on the provocative work Los bandos de villafrita, inspired by newspaper articles about politics in Spain. He also appeared in the period comedy Ganar el pleito (1884) about a private eye and his partner who get mixed up with trouble. In 1885 he appeared in Las grandes figuras political work of society in Spain. El barbián de la Persia and El domingo Gordo, (1886), El estudiante de Alcála 1887 about Don Quijote, El año pasado por agua 1889.

In 1890 he worked with their own successful pieces. Later he had to adopt new works of popular taste but no longer had the force of youth and began accepting acting roles in generic lyrical and Spanish operettas of Federico Chueca, Ruperto Chapí, Tomás Bretón,J.L. Torregrosa and many others.

In 1900, Videgain composed one title about the Don Juan Tenorio, Invictus, which was met with generally positive reviews. His "Inspirational work, Videgain's title has a predictable trajectory, but every scene brims with surprising details that accumulate into a rich fabric of history, cultural impressions and emotion european."

Videgain had a strong passion for music, particularly zarzuela and operettas. He was a pianist and composer and although he was never successful as a professional musician, he passed on the influence to his son Antonio Videgain, who became a successful singer and composer. Zarzuela played an important role in Videgain's life. He developed as a ragtime pianist early on and had originally intended to pursue a career in music by studying for a music theory degree after high school. Videgain co-wrote "Tenorio en Nápoles". He composed piano pieces for Antonia and the song "Marcha flamenca" with music by Videgain and son.

Videgain received multiple awards and nominations for his work in theatre. He sang with famous voices such as José Sigler, Enrique Lacasa, Bonifacio Pinedo and Miguel Fleta. He is one of the few singers best known as an actor to be recognized.

• El globo 1876-1887.
• El Imparcial (prensa) 1873-1887.
• El Liberal 1887.
• La correspondecia de Madrid 1876.
• El país (prensa) 1890-1906.
• El correo Militar 1873-1979.
• ABC 1902-1906.
• El español 1970-1900
• Crónicas de España Rev. 1999.
• La vanguardia de Barcelona. 1880-1906
• [1] Edición del sábado, 21 agosto 1886, página 6
• [2] Edición del jueves, 30 mayo 1889, página 2 La vanguardía de Barcelona.