{ "id": "epx376ny0d", "slug": "la-corte-de-faraon", "title": "La Corte de Faraón", "updated": "2026-11-01", "topic_path": [ { "id": "culture", "label": "Arts and culture", "api_url": "https://www.edgepedia.org/api/v1/topics/culture" }, { "id": "culture.performance", "label": "Screen and stage", "api_url": "https://www.edgepedia.org/api/v1/topics/culture.performance" }, { "id": "culture.performance.screen", "label": "Film and television", "api_url": "https://www.edgepedia.org/api/v1/topics/culture.performance.screen" }, { "id": "culture.performance.screen.films", "label": "Films and standalone screen works", "api_url": "https://www.edgepedia.org/api/v1/topics/culture.performance.screen.films" }, { "id": "culture.performance.screen.films.films.individual-works", "label": "Individual films by title and year", "api_url": "https://www.edgepedia.org/api/v1/topics/culture.performance.screen.films.films.individual-works" }, { "id": "culture.performance.screen.films.films.individual-works.musical-music", "label": "Musical and music films (individual works)", "api_url": "https://www.edgepedia.org/api/v1/topics/culture.performance.screen.films.films.individual-works.musical-music" }, { "id": "culture.performance.screen.films.films.individual-works.musical-music.musical-films-of-the-1970s-and-1980s", "label": "Musical films of the 1970s and 1980s", "api_url": "https://www.edgepedia.org/api/v1/topics/culture.performance.screen.films.films.individual-works.musical-music.musical-films-of-the-1970s-and-1980s" } ], "geo": [ { "id": "geo.weu.t1800.culture.performance.screen.films.films.individual-works", "label": "Western Europe · 1800 to 1945: Individual films by title and year", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.weu.t1800.culture.performance.screen.films.films.individual-works", "path": [ { "id": "geo.weu", "label": "Western Europe", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.weu" }, { "id": "geo.weu.t1800", "label": "Western Europe · 1800 to 1945", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.weu.t1800" }, { "id": "geo.weu.t1800.culture", "label": "Arts and culture", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.weu.t1800.culture" }, { "id": "geo.weu.t1800.culture.performance", "label": "Screen and stage", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.weu.t1800.culture.performance" }, { "id": "geo.weu.t1800.culture.performance.screen", "label": "Film and television", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.weu.t1800.culture.performance.screen" }, { "id": "geo.weu.t1800.culture.performance.screen.films", "label": "Films and standalone screen works", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.weu.t1800.culture.performance.screen.films" }, { "id": "geo.weu.t1800.culture.performance.screen.films.films.individual-works", "label": "Individual films by title and year", "api_url": "https://www.edgepedia.org/api/v1/geo/geo.weu.t1800.culture.performance.screen.films.films.individual-works" } ] } ], "excerpt": "La corte de Faraón (also La corte del Faraón) is a 1910 Spanish one-act biblical operetta by Vicente Lleó, libretto by Perrín and Palacios, premiered at Madrid's Teatro Eslava; the emblematic sicalíptico zarzuela, banned under Franco and adapted in García Sánchez's 1985 film.", "snippet": "La corte de Faraón (also La corte del Faraón) is a 1910 Spanish one-act biblical operetta by Vicente Lleó, libretto by Perrín and Palacios, premiered at Madrid's Teatro Eslava; the emblematic sicalíptico zarzuela, banned under Franco and adapted in García Sánchez's 1985 film.", "node": "culture.performance.screen.films.films.individual-works.musical-music.musical-films-of-the-1970s-and-1980s", "markdown": "# La Corte de Faraón\n\n**La corte de Faraón** is a Spanish one-act \"biblical operetta\" (opereta bíblica) with a libretto by Guillermo Perrín and Miguel de Palacios and music by Vicente Lleó, premiered on 21 January 1910 at the Teatro Eslava in Madrid. It is the emblematic work of the *género sicalíptico*, a strain of early 20th-century Spanish musical theater built on erotic double entendre, and it was banned during the Franco regime before returning to the stage and inspiring a well-known 1985 film adaptation.[1](https://archivo.sgae.es/heritageobject/la-corte-de-faraon--opereta-biblica-en-un-acto-dividido-en-cinco-cuadros-en-verso--original-de-guillermo-perrin-y-miguel-de-palacios--musica-del-maestro-vicente-lleo-ff82/) • [2](https://www.codalario.com/la-corte-de-faraon/criticas-2025/critica-la-corte-de-faraon-en-el-teatro-de-la-zarzuela_13879_112_47747_0_23_in.html)\n\n| Key fact | Detail |\n|---|---|\n| Premiere | 21 January 1910, Teatro Eslava, Madrid[1](https://archivo.sgae.es/heritageobject/la-corte-de-faraon--opereta-biblica-en-un-acto-dividido-en-cinco-cuadros-en-verso--original-de-guillermo-perrin-y-miguel-de-palacios--musica-del-maestro-vicente-lleo-ff82/) |\n| Form | Opereta bíblica in one act divided into five scenes, in verse[1](https://archivo.sgae.es/heritageobject/la-corte-de-faraon--opereta-biblica-en-un-acto-dividido-en-cinco-cuadros-en-verso--original-de-guillermo-perrin-y-miguel-de-palacios--musica-del-maestro-vicente-lleo-ff82/) |\n| Creators | Libretto Guillermo Perrín (1857–1923) and Miguel de Palacios (1863–1920); music Vicente Lleó (1870–1922)[1](https://archivo.sgae.es/heritageobject/la-corte-de-faraon--opereta-biblica-en-un-acto-dividido-en-cinco-cuadros-en-verso--original-de-guillermo-perrin-y-miguel-de-palacios--musica-del-maestro-vicente-lleo-ff82/) |\n| Source | Based on the French operetta *Madame Putiphar* by Edmond Diet[3](https://bibliotecacdt.mcu.es/cgi-bin/koha/opac-retrieve-file.pl?id=b67323e8ea758b74f1bdd120cfa4ec07) |\n| Genre label | Sicalíptico, defined by María Moliner's dictionary as \"sexually malicious\"[4](https://elpais.com/diario/1999/03/30/cultura/922744806_850215.html) |\n| Censorship | Prohibited under Franco; survived clandestinely, at times performed under other names[5](https://elpais.com/diario/2003/01/31/cine/1043967605_850215.html) • [6](https://cadenaser.com/baleares/2026/01/07/la-corte-de-faraon-la-primera-zarzuela-tras-seis-anos-en-el-teatro-principal-de-palma-radio-mallorca/) |\n| Film adaptation | *La corte de Faraón* (José Luis García Sánchez, 1985), screenplay with Rafael Azcona, 96 minutes[7](https://www.cervantesvirtual.com/portales/rafael_azcona/faraon_ficha_tecnica/) |\n\n## Spoilers\n\n### Plot\n\nMadrid, the 1940s, the hungry years after the Civil War. A modest revue company has dared to stage *La corte de Faraón*, the bawdy \"biblical operetta\" about Joseph in Egypt that was a scandalous hit at the teatro Eslava on January 21, 1910 and later forbidden by Franco's censors for its erotic, political, and religious audacity. To slip past the authorities they perform it under another title and without permits, which fools nobody, least of all a priest who attends a performance and denounces it. The police descend on the theater and march the entire company, pharaohs, slave girls, and all, straight to the comisaría.\n\nThe interrogations at the police station are the frame; the story unspools from the statements of the detainees and of the accusing priest, each testimony jumping back to a different corner of the troupe's life: the shabby boarding house where the actors sleep two to a bed, the theater where they rehearse between hunger and hope, the mansion of don Roque, the rich man who keeps the company afloat for his own reasons. The film never leaves these interiors. Postwar Spain becomes a set of rooms you cannot get out of.\n\nAt the center of the troupe is Mari Pili ([Ana Belén](https://www.edgepedia.org/ana-belen)), the leading lady, who on stage becomes the princess Lota in gold lamé and off stage is a working actress counting her pesetas. Opposite her is Fray José ([Antonio Banderas](https://www.edgepedia.org/antonio-banderas)), a young friar drawn into the company, chaste in title and anything but in feeling; his attraction to Mari Pili is one of the film's forbidden loves, doomed to stay inside the world of desire because the established order allows it nowhere else. There is a second forbidden love alongside it: Tarsicio, don Roque's son, and Roberto ([Juan Diego](https://www.edgepedia.org/juan-diego)), a homosexual relationship that the era's Spain makes equally unspeakable. The operetta's own characters double as the actors' masks: Josema Yuste plays Putifar, Millán Salcedo the slave, Quique Camoiras the pharaoh, and the film cuts between the gaudy stage Egypt and the gray Madrid streets so that the satire lands twice, once on the Bible story and once on the regime that fears it.\n\n**The scene the film is remembered for is the interrogation itself, and the enormous paella that arrives in the middle of it.** The commissar (José Luis López Vázquez) has spent the night working over the entire company of comedians, a crowded room of exhausted performers still half in costume, when a gigantic paella is carried into the Francoist police station. Don Roque (Fernando Fernán Gómez), the influential millionaire and regime favorite, has sent it, and it is not for the prisoners: it is offered only to the representatives of the system, the commissar and the censoring priest (Agustín González), who eat while the troupe looks on. Don Roque, a sentimental anarchist who has learned to work every lever, talks his way out of any charge with sheer wordplay while his son's friends stay detained. It is the film in one image: the powerful share the dish, the artists provide the entertainment and take the blame, and the whole apparatus of authority is reduced to men eating well in the middle of the night. Ángel Fernández-Santos of El País called this crowded nocturnal interrogation with the giant paella the diffuse axis of the whole plot.\n\nThe night of questioning winds down the way such nights do under a regime: nobody is really guilty of anything except irreverence, and the punishment is arbitrary, distributed by rank and connections. Fray José and Mari Pili, Tarsicio and Roberto, remain exactly where they started, desire without an exit, and the troupe goes back to the only thing it can do, which is sing. The film closes on that resignation with a shrug and a musical number, having made its point about who eats and who performs.\n\n### Characters\n\n**Mari Pili** (Ana Belén) is the company's star, the actress who becomes princess Lota on stage. Glamorous in footlights, precarious everywhere else, and the object of a love the era will not permit.\n\n**Fray José** (Antonio Banderas) is a young friar tangled up with the troupe, a man of God with a man's appetites, played by Banderas in one of his early film roles before Almodóvar and Hollywood made him an international name.\n\n**Don Roque** (Fernando Fernán Gómez) is the millionaire patron, regime-adjacent, untouchable, and cheerfully cynical about it. He wins arguments with the police by talking and feeds the police by catering.\n\n**The commissar** (José Luis López Vázquez) runs the night's interrogations, weary and procedural, the face of an authority that is more absurd than menacing.\n\n**The priest** (Agustín González) is the denouncer, the ecclesiastical censor whose outrage sets the plot in motion, and who ends the night eating don Roque's paella.\n\n**Tarsicio and Roberto** (with Juan Diego as Roberto) embody the film's other censored love, a homosexual relationship the film treats with the same sympathy and the same hopelessness as the straight one.\n\n### Interpretations and controversies\n\nScholarship reads the film as an esperpentic (grotesque, distorted satire style of Spanish literature) rewriting of the 1910 operetta, using the historical fact of its Franco-era prohibition to caricature the censors and the authorities of the 1940s from the safe distance of 1985. García Sánchez called it \"a settling of accounts with the censors of the forties.\" The satire is pointed enough that the film was rated not recommended for children under thirteen in Spain.\n\n## The work and its plot\n\nThe operetta is set in a caricatured ancient Egypt. General Putifar returns victorious from war against the Syrians, but a wound has left him unable to fulfill his marital duties; as a reward the drunken, libidinous Pharaoh gives him the young Theban maiden Lota in marriage. Lota, dying of melancholy, then pursues the attentions of the chaste Hebrew slave José, whose religion obliges him to arrive a virgin at marriage, while the Pharaoh's consort also desires him.[5](https://elpais.com/diario/2003/01/31/cine/1043967605_850215.html) • [8](https://www.huffingtonpost.es/opinion/la-corte-faraon-hazte-cool-di-sicaliptico.html) The plot is deliberately thin; the piece lives on its musical numbers and its innuendo.[8](https://www.huffingtonpost.es/opinion/la-corte-faraon-hazte-cool-di-sicaliptico.html)\n\nThe five scenes carry parodic titles borrowed from grand opera, beginning with \"¡Ritorna vincitor!\", a nod to Verdi's *Aida*, and continuing through \"De capa caída\", \"La capa de José\", \"Los sueños de Faraón\", and \"¡El buey Apis!\".[1](https://archivo.sgae.es/heritageobject/la-corte-de-faraon--opereta-biblica-en-un-acto-dividido-en-cinco-cuadros-en-verso--original-de-guillermo-perrin-y-miguel-de-palacios--musica-del-maestro-vicente-lleo-ff82/) The score parodies *Aida* and grand opera while mixing in the cuplé, Spanish popular music, and the waltz as a mark of Viennese operetta influence.[2](https://www.codalario.com/la-corte-de-faraon/criticas-2025/critica-la-corte-de-faraon-en-el-teatro-de-la-zarzuela_13879_112_47747_0_23_in.html) Among the best-known numbers are the aria \"Yo soy el casto José\", counted among the classics of Spanish comic song, and the Babylonian cuplé \"Ay, ba, Ay, ba\".[8](https://www.huffingtonpost.es/opinion/la-corte-faraon-hazte-cool-di-sicaliptico.html)\n\n## Genre and style\n\nThe work belongs to what contemporaries called the *género sicalíptico*, from a word the María Moliner dictionary defines as \"sexually malicious\". In an era when variety shows competed with cinema and explicit eroticism was unavailable, the humor came from the maliciously spoken word, double meanings, and suggestive delivery, especially in the cuplés, together with the sensual display of the female body and the cupletista's play with the audience.[4](https://elpais.com/diario/1999/03/30/cultura/922744806_850215.html) • [9](https://www.codalario.com/la-corte-de-faraon/criticas/critica-la-corte-de-faraon-en-el-teatro-campoamor-de-oviedo_14106_5_45237_0_1_in.html)\n\nCritics have debated its classification ever since. Some place it closer to the revista (revue) than to zarzuela proper, calling it a comedy with musical passages; others stress the quality of Lleó's score and its parody of grand opera. The scholar Víctor M. Peláez, who has studied the work from the parodic perspective, notes that it arose from a burlesque motivation and contains satirical details, such as a political cuplé and eroticized religion, without any intention of destructive criticism.[2](https://www.codalario.com/la-corte-de-faraon/criticas-2025/critica-la-corte-de-faraon-en-el-teatro-de-la-zarzuela_13879_112_47747_0_23_in.html) • [10](https://www.beckmesser.com/critica-la-corte-de-faraon/) • [11](https://www.cervantesvirtual.com/obra-visor/la-corte-de-faran-desde-la-perspectiva-pardica-0/html/ffb5ba3e-82b1-11df-acc7-002185ce6064_6.html)\n\n## Premiere and early success\n\nThe premiere on the night of 21 January 1910 at the Teatro Eslava was a notable commercial success. The original cast included Julia Fons as Lota, Juanita Manso as the Queen, Antonio González (\"Gonzalito\") as José, Carlos Allen-Perkins as General Putifar, and Ramón Peña as the Pharaoh, with Ramón Peña also conducting.[1](https://archivo.sgae.es/heritageobject/la-corte-de-faraon--opereta-biblica-en-un-acto-dividido-en-cinco-cuadros-en-verso--original-de-guillermo-perrin-y-miguel-de-palacios--musica-del-maestro-vicente-lleo-ff82/) • [12](https://www.melomanodigital.com/la-corte-de-faraon-de-vicente-lleo/) A legend recorded by Diego Galán holds that the librettists bet they could produce the piece in a single night and that Lleó composed the catchy songs in another single night, which would explain the work's lightness.[5](https://elpais.com/diario/2003/01/31/cine/1043967605_850215.html)\n\nThe operetta was performed for decades. Its moment of greatest glory came in the 1920s, the decade of Primo de Rivera, whose personal taste for this kind of entertainment helped the genre flourish; Julia Fons was then celebrated in the Babylonian cuplés.[11](https://www.cervantesvirtual.com/obra-visor/la-corte-de-faran-desde-la-perspectiva-pardica-0/html/ffb5ba3e-82b1-11df-acc7-002185ce6064_6.html)\n\n## Censorship under Franco\n\nThe Franco regime prohibited the work. According to the account circulated at the time, a censor concluded that General Putifar, impotent as a result of an indiscreet arrow wound received in battle, was an image of the Generalísimo himself. The ban held even though the operetta had isolated disguised performances; it survived the censorship years by being staged under other names.[5](https://elpais.com/diario/2003/01/31/cine/1043967605_850215.html) • [6](https://cadenaser.com/baleares/2026/01/07/la-corte-de-faraon-la-primera-zarzuela-tras-seis-anos-en-el-teatro-principal-de-palma-radio-mallorca/)\n\n## The 1985 film\n\nWith censorship ended, the filmmaker José Luis García Sánchez and the screenwriter Rafael Azcona built a feature film on the operetta, taking the ban itself as their subject. In the film, set in the late 1940s, an amateur theater company stages the prohibited work without the required permits and ends up in a police station, where a commissar spends the night interrogating them; during the questioning the musical numbers are performed, mixing the operetta's scenes with the lives of the performers.[13](https://www.sansebastianfestival.com/1985/secciones_y_peliculas/seccion_oficial/7/330003/es) • [7](https://www.cervantesvirtual.com/portales/rafael_azcona/faraon_ficha_tecnica/)\n\nThe film premiered in Madrid on 26 September 1985 and runs 96 minutes. It was produced by Lince Films with TVE and the Ministry of Culture, photographed by José Luis Alcaine, and starred Ana Belén (Mari Pili/Lota/Sul), Fernando Fernán Gómez (Roque), Antonio Banderas (Fray José), Josema Yuste (Tarsicio/Putifar), Agustín González (Padre Calleja), and José Luis López Vázquez (the commissar), with Lleó's music directed and orchestrated by [Luis Cobos](https://www.edgepedia.org/luis-cobos).[7](https://www.cervantesvirtual.com/portales/rafael_azcona/faraon_ficha_tecnica/) At the 1985 San Sebastián Festival it received a Silver Shell and a special mention for the ensemble cast.[14](https://www.todomusica.org/cine/peliculas/la-corte-de-faraon-1985-2103/) Scholars have read the film as a cinematographic rewriting of the zarzuela in the grotesque key of the esperpento, using the operetta as a pretext to satirize official morality, everyday fear, and social hypocrisy in the postwar years.[15](https://dialnet.unirioja.es/descarga/articulo/6975716.pdf) • [14](https://www.todomusica.org/cine/peliculas/la-corte-de-faraon-1985-2103/)\n\n## Later stage life\n\nThe operetta returned prominently to the [Teatro de la Zarzuela](https://www.edgepedia.org/teatro-de-la-zarzuela) in Madrid in a production designed by the Argentine director Alfredo Arias, staged there from 27 March to 2 May 1999, with deliberately extravagant scenography.[11](https://www.cervantesvirtual.com/obra-visor/la-corte-de-faran-desde-la-perspectiva-pardica-0/html/ffb5ba3e-82b1-11df-acc7-002185ce6064_6.html) • [4](https://elpais.com/diario/1999/03/30/cultura/922744806_850215.html) A revised version by the stage director Emilio Sagi and the singer Enrique Viana reached the same theater in early 2025, with Carlos Aragón conducting the Orquesta de la Comunidad de Madrid; the revision added and cut material and updated some numbers, such as the Terceto of the three widows who instruct Lota on her wedding night.[2](https://www.codalario.com/la-corte-de-faraon/criticas-2025/critica-la-corte-de-faraon-en-el-teatro-de-la-zarzuela_13879_112_47747_0_23_in.html) • [8](https://www.huffingtonpost.es/opinion/la-corte-faraon-hazte-cool-di-sicaliptico.html) The work continues to tour Spanish theaters in modernized productions, presented as an accessible entry point to Spanish lyric theater.[6](https://cadenaser.com/baleares/2026/01/07/la-corte-de-faraon-la-primera-zarzuela-tras-seis-anos-en-el-teatro-principal-de-palma-radio-mallorca/)\n\n## References\n\n1. [La corte de Faraón [libreto], Archivo SGAE](https://archivo.sgae.es/heritageobject/la-corte-de-faraon--opereta-biblica-en-un-acto-dividido-en-cinco-cuadros-en-verso--original-de-guillermo-perrin-y-miguel-de-palacios--musica-del-maestro-vicente-lleo-ff82/)\n2. [Crítica: «La corte de faraón» en el Teatro de la Zarzuela, Codalario (Raúl Chamorro Mena, 4 February 2025)](https://www.codalario.com/la-corte-de-faraon/criticas-2025/critica-la-corte-de-faraon-en-el-teatro-de-la-zarzuela_13879_112_47747_0_23_in.html)\n3. [Estrena Episodios nacionales en el Teatro, Biblioteca Central del Ministerio de Cultura (1909–1910 chronology)](https://bibliotecacdt.mcu.es/cgi-bin/koha/opac-retrieve-file.pl?id=b67323e8ea758b74f1bdd120cfa4ec07)\n4. [Un disparate lleno de talento, El País (Juan Ángel Vela del Campo, 30 March 1999)](https://elpais.com/diario/1999/03/30/cultura/922744806_850215.html)\n5. [Regodeo en la concupiscencia, El País (Diego Galán, 31 January 2003)](https://elpais.com/diario/2003/01/31/cine/1043967605_850215.html)\n6. [«La Corte de Faraón», la primera zarzuela tras seis años en el Teatro Principal de Palma, Cadena SER (7 January 2026)](https://cadenaser.com/baleares/2026/01/07/la-corte-de-faraon-la-primera-zarzuela-tras-seis-anos-en-el-teatro-principal-de-palma-radio-mallorca/)\n7. [La corte de Faraón (1985). Ficha técnica, Biblioteca Virtual Miguel de Cervantes](https://www.cervantesvirtual.com/portales/rafael_azcona/faraon_ficha_tecnica/)\n8. ['La corte de Faraón', hazte el cool, di sicalíptico, HuffPost España (Antonio Hernández Nieto, 2 February 2025)](https://www.huffingtonpost.es/opinion/la-corte-faraon-hazte-cool-di-sicaliptico.html)\n9. [Crítica: «La corte de Faraón» en el Teatro Campoamor de Oviedo, Codalario](https://www.codalario.com/la-corte-de-faraon/criticas/critica-la-corte-de-faraon-en-el-teatro-campoamor-de-oviedo_14106_5_45237_0_1_in.html)\n10. [Crítica: \"La Corte de Faraón\" (segundo reparto), Beckmesser (2 February 2025)](https://www.beckmesser.com/critica-la-corte-de-faraon/)\n11. [La Corte de Faraón desde la perspectiva paródica, Biblioteca Virtual Miguel de Cervantes (Víctor M. Peláez)](https://www.cervantesvirtual.com/obra-visor/la-corte-de-faran-desde-la-perspectiva-pardica-0/html/ffb5ba3e-82b1-11df-acc7-002185ce6064_6.html)\n12. [La corte de Faraón de Vicente Lleó, Melómano Digital](https://www.melomanodigital.com/la-corte-de-faraon-de-vicente-lleo/)\n13. [La corte de Faraón, Festival de San Sebastián 1985, Sección Oficial](https://www.sansebastianfestival.com/1985/secciones_y_peliculas/seccion_oficial/7/330003/es)\n14. [La corte de faraón (1985), ficha y crítica, TodoMúsica Cine](https://www.todomusica.org/cine/peliculas/la-corte-de-faraon-1985-2103/)\n15. [Reescritura cinematográfica de una zarzuela en clave esperpéntica: La corte de Faraón, Revista Signa 28 (José Seoane Riveira, UNED, 2019)](https://dialnet.unirioja.es/descarga/articulo/6975716.pdf)\n\n---\n*Topic: Encyclopedia › Arts and culture › Screen and stage › Film and television › Films and standalone screen works › Individual films by title and year › Musical and music films (individual works) › Musical films of the 1970s and 1980s*\n\n*Initially written Oct 3, 2026 · Reviewed: Oct 25, 2026 · Edited: Oct 15, 2026; Oct 25, 2026; Nov 1, 2026 · Last review: Oct 25, 2026*\n\n*Copyright 2026 EdgeChat AI, a subsidiary of Biostate AI.*\n\nLicense: Edgepedia Community License 1.0, https://www.edgepedia.org/edgepedia/license\n", "same_as": [], "url": "https://www.edgepedia.org/la-corte-de-faraon", "markdown_url": "https://www.edgepedia.org/la-corte-de-faraon.md", "license": { "name": "Edgepedia Community License 1.0", "url": "https://www.edgepedia.org/edgepedia/license", "summary": "Free with credit, commercial use included. AI training is open to everyone. For other uses, organizations over USD 100M in revenue or 100M monthly users license separately.", "spdx": "LicenseRef-Edgepedia-Community-1.0" }, "credit": "\"La Corte de Faraón\", Edgepedia (EdgeChat), https://www.edgepedia.org/la-corte-de-faraon. Edgepedia Community License 1.0.", "credit_md": "\"[La Corte de Faraón](https://www.edgepedia.org/la-corte-de-faraon)\", Edgepedia (EdgeChat), [https://www.edgepedia.org/la-corte-de-faraon](https://www.edgepedia.org/la-corte-de-faraon). [Edgepedia Community License 1.0](https://www.edgepedia.org/edgepedia/license).", "credit_html": "\"La Corte de Faraón\", Edgepedia (EdgeChat), https://www.edgepedia.org/la-corte-de-faraon. Edgepedia Community License 1.0.", "speakable": "La corte de Faraón is a 1910 Spanish one-act biblical operetta by Vicente Lleó, libretto by Perrín and Palacios, premiered at Madrid's Teatro Eslava; the emblematic sicalíptico zarzuela, banned under Franco and adapted in García Sánchez's 1985 film." }