Apolo, opened in 1873. At first it attempted to present the género grande, but it soon yielded to the taste and economics of the time, and became the "temple" of the more populist género chico in the late 1870s. Musical content from this era ranges from full-scale operatic arias (romanzas) through to popular songs, and dialogue from high poetic drama to lowlife comedy characters. There are also many types of zarzuela in between the two named genres, with a variety of musical and dramatic flavours. Many of the greatest zarzuelas were written in the 1880s and 1890s, but the form continued to adapt to new theatrical stimuli until well into the 20th century. With the onset of the Spanish Civil War, the form rapidly declined, and the last romantic zarzuelas to hold the stage were written in the 1950s. Whilst Barbieri produced the greatest zarzuela grande in El barberillo de Lavapiés, the classic exponent of the género chico was his pupil Federico Chueca, whose La gran vía (composed with Joaquín Valverde Durán) was a cult success both in Spain and throughout Europe. The musical heir of Chueca was José Serrano, whose short, one act género chico zarzuelas - notably La canción del olvido, Alma de dios and the much later Los claveles and La dolorosa - form a stylistic bridge to the more musically sophisticated zarzuelas of the 20th century. While the zarzuela featured (or even glorified) popular customs, festivals, and manners of speech, especially those of Madrid, something never found in a zarzuela is social criticism. They celebrated the established order of society; if a zarzuela advocated for anything, it would be for the slowing or elimination of social change. 20th century From about 1900, the term ("degraded" or "low genre") was coined to describe an emerging form of entertainment allied to the (revue) type of musical comedy: these were musical works similar to the zarzuela but lighter and bolder in their social criticism, with scenes portraying sexual themes and many verbal double entendres. One popular work from the género ínfimo years is La corte de Faraón (1910), by Vicente Lleó, which was based on the French operetta Madame Putiphar. In the second decade of the century, the influences of Viennese operetta and the English followers of Sullivan such as Lionel Monckton made themselves felt, in works such as Molinos de viento and El asombro de Damasco (both by