The Encyclopedia de La Línea collects in volume III the biographies of 329 linenses characters or those closely linked to the city. Almost all levels and professionals are represented. It contains stories of writers, painters, teachers, priests, doctors, singers, singers, dancers, composers, musicians and bullfighters, as well as psychological, announcers, athletes and actors.
Francisco Soro ‘Maestro Soro’ (Musician and composer)
Francisco Soro Soler, although he was born in Fortuna (Murcia), lived from the age of twelve in Barcelona. At the Municipal Conservatory of Music in the Catalan capital he studied Music, specializing in the instrument of the Trumpet and in Orchestra Conducting. Got the Golden Trumpet Award in England for his virtuosity. She created the first Spanish ladies’ orchestra with which she toured various Spanish capitals. He composed a significant number of sheet music that are still being performed in various national and foreign places.
Precisely, through his daughter, Amalia, we have learned that Master Soro composed the first hymn to La Línea, a pasodoble-march registered in the 1940s in the General Society of Authors, under the name of Corner between two seas; It was in those years when the teacher came to our city after making a concert tour of France, Morocco and Gibraltar, from where it passed to La Línea and remained here for about forty years. He always felt like one more linense and loved his adopted town who dedicated his life to train musicians and artists in a completely altruistic way. He founded the Municipal Band of Music and also that of the Red Cross, which for many years participated in various popular events.
Created the Linense Artistic Group, from which great artists came out, including Lolita Torrejón, Merci Peña, a magnificent copla singer, Araceli Otero, the Velasco sister dancers, the internationally known guitarist Emilio Ruiz, the brother of the dancer Rosa Mary Ruiz, a beautiful young woman who obtained the Miss Spain award and now living in Puerto Rico.
Master Soro, together with his wife, Doña María Serra de Soro, discovered, taught and promoted large numbers of students, dedicating his effort, his great musical and artistic training and his money so that La Línea had a large group of figures.
The Linense Artistic Association collaborated for many years, organizing festivals to help various social, religious and sports institutions. With a large cast made up of students from its Academy, which had dance teachers, shows and dance numbers were completely modern and advanced for the time. Staging such as Early Roses, Country Alegria, Hungary of My Loves, Party at the Palace, The Doll Workshop, Luisa Fernanda, Fantasy of the Thousand and One Nights, The Miracle, Large Cante Print, comedies such as Agarrate Feliciano and the zarzuelas La Dolorosa and The Song of Forgetfulness were part of his repertoire.
Within the show he formed the ballet Las 11 Mirandas (which began as three), made up of girls; Among them Rosa Mari Ruiz, Pastora Oda, Conchi Díaz, Maribel Brochs, daughter of a great flutist, Marujita Navarro, Adela Rueda, Maruchi Gregori, Merche Arjona, Pepi Gómez, daughter of the great Manolo el Chófer, and the Master’s own daughter: Amalita Soro.
At one of the events and to help the Balompédica Linense, created an artistic female team that he interpreted, composed of him, Let’s play football, which caused great sensation before the audience that attended, for its scenic conception. Maestro Soro always had the invaluable help of a wonderful theater professional such as Carlos Cabo, which was then in charge of the Parque Theater. Agustín Pol also collaborated from a young age and was warmly welcomed by the Soro couple. The last lyrical theatrical event organized by Maestro Soro was the zarzuela The Song of Oblivion, for the benefit of the Spanish Red Cross. The singers Margarita Vázquez, Carlos Padilla and José Luís García as well as the actors and orchestra that took part in the work, were prepared and directed by the Soro couple. A few days later the Master suffered a heart attack and later a cerebral embolism, from which he would not recover and which made him remain ill and in bed for several years until he died in January 1972.
Despite the fact that his dedication to teaching music and conducting the band caused him a lot of displeasure, he always wanted, together with Doña María, keep teaching and helping to the artists from Linea, who without their disinterested help would not have been able to get where they wanted.
As they were post-war times (40s and 50s), there were times when Maestro Soro had to recover from then Mount of piety, musical instruments that some of the members of the music band pawned for economic needs. He fought, as if it were his own thing, so that the musicians and artists had a dignity and recognition. He saw that in certain places in Spain being an artist carried a pejorative meaning and a musician was considered little less than a mountebank, although this musician was endorsed by a Conservatory and great musical knowledge.
Both Master Soro and his wife were modest, simple people and loved by the people. They did not like to appear, nor sell, which has been and is so usual when it lacks true importance. They didn’t need it, and that’s how they went through life in this little piece of Andalusia that they chose to live and die. Although his memory does not die because many continue to keep a beautiful image of these people who were authentic patrons for La Línea; with generosity and honesty and without expecting anything in return.
Antonio Seguí ‘El Bueyero’
Natural singer of La Línea de la Concepción born in 1941. He sings from a very young age, at the age of 12 he performs in theaters and radio programs. In a 1955 program of the Linense theater Trino Cruz it can be seen that he acts in two sessions, afternoon and evening. He was also acting outside our region. Likewise, he acted under contract at the Fair of our town in different booths.
He was singing in nightclubs, looking for life and in all private parties and meetings that was organized in La Línea. His voice appropriate for free cantes, clear, clean. He does the fandangos of Juan Maravillas and other cantaores of that line very well. Later he only sings for his friends and family.
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