Pablo Luna), before the Spanish tradition of great acts was reasserted in Amadeu Vives's Doña Francisquita (1923). The zarzuela continued to flourish in the 1930s, thanks to composers of the stature of Pablo Sorozábal – who reinvigorated it as a vehicle for socio-political comment – Federico Moreno Torroba, and Francisco Alonso. However, the Spanish Civil War brought a decline of the genre, and after the Second World War, its extinction as a live genre was almost total. There were no new authors and the compositions are not renovated. There have been no significant new works created since the 1950s; the existing zarzuela repertoire is costly to produce, and many classics have been performed only sporadically in recent years, at least professionally. The genre has again found favour in Spain and elsewhere: younger people, in particular, have been drawn to its lyrical music and theatrical spectacle in the 1940s and 1950s. Spanish radio and television have dedicated time to zarzuela in 1978, not least in a popular series of programs produced by TVE and entitled Antología de la zarzuela ("Zarzuela Anthology"). These were based on lip syncs of the classic recordings of the 1940s and 1950s. Some years earlier, impresario José Tamayo worked a theatrical show of the same name which popularized pieces of zarzuela through several national and international tours. Zarzuela in Catalonia While the zarzuela tradition flourished in Madrid and other Spanish cities, Catalonia developed its own zarzuela, with librettos in Catalan. The atmosphere, the plots, and the music were quite different from the model that triumphed in Madrid, as the Catalan zarzuela was looking to attract a different public, the bourgeois classes. Catalan zarzuela was turned little by little into what is called, in Catalan, teatre líric català ("Catalan lyric theater"), with a personality of its own, and with modernista lyricists and composers such as Enric Granados or Enric Morera. In the final years of the 19th century, as modernisme emerged, one of the notable modernistas, and one of Felip Pedrell's pupils, Amadeu Vives came onto the Barcelona scene. He contributed to the creation of the Orfeó Català in 1891, along with Lluís Millet. In spite of a success sustained over many years, his musical ambition took him to Madrid, where zarzuela had a higher profile. Vives became one of the most important zarzuela composers, with such masterpieces as Doña Francisquita. Zarzuela in Cuba and Mexico In Cuba