III, political problems provoked a series of revolts against his Italian ministers; these were echoed in theatrical presentations. The older style zarzuela fell out of fashion, but popular Spanish tradition continued to manifest itself in shorter works, such as the single-scene tonadilla (or intermezzo) of which the finest literary exponent was Ramón de la Cruz. Musicians such as Antonio Rodríguez de Hita were proficient in the shorter style of works, though he also wrote a full-scale zarzuela with de la Cruz entitled Las segadoras de Vallecas (The Reapers of Vallecas, 1768). José Castel was one of several composers to write for the Teatro del Príncipe. 19th century In the 1850s and 1860s a group of patriotic writers and composers led by Francisco Barbieri and Joaquín Gaztambide revived the zarzuela form, seeing in it a possible release from French and Italian music hegemony. The elements of the work continue to be the same: sung solos and choruses, spiced with spoken scenes, and comedic songs, ensembles and dances. Costume dramas and regional variations abound, and the librettos (though often based on French originals) are rich in Spanish idioms and popular jargon. The zarzuelas of the day included in their librettos various regionalisms and popular slang, such as that of Madrid castizos. Often, the success of a work was due to one or more songs that the public came to know and love. Despite some modifications the basic structure of the zarzuela remained the same: dialogue scenes, songs, choruses, and comic scenes generally performed by two actor-singers. The culminating masterpieces from this period were Barbieri's Pan y toros and Gaztambide's El juramento. Another notable composer from this period was Emilio Arrieta. Romantic zarzuela After the Glorious Revolution of 1868, the country entered a deep crisis (especially economically), which was reflected in theatre. The public could not afford high-priced theatre tickets for grandiose productions, which led to the rise of the Teatros Variedades ("variety theatres") in Madrid, with cheap tickets for one-act plays (sainetes). This "theatre of an hour" had great success and zarzuela composers took to the new formula with alacrity. Single-act zarzuelas were classified as género chico ("little genre") whilst the longer zarzuelas of three acts, lasting up to four hours, were called género grande ("grand genre"). Zarzuela grande battled on at the Teatro de la Zarzuela de Madrid, founded by Barbieri and his friends in the 1850s. A newer theatre, the