José Gómez Ortega (bullfighter)

José Gómez Ortega, known as Gallito III, later also as Joselito or Joselito el Gallo (Gelves, Seville; May 8, 1895-Talavera de la Reina, May 16, 1920) was a Spanish bullfighter, of gypsy ethnicity on the side of his mother, Gabriela Ortega Feria. He is known for contributing the modifications of bullfighting. modern, lay the foundations for the selection of bulls in bull ranches and promote the construction of monumental bullrings.

Child prodigy of bullfighting, he fought cattle at the age of six. Currently, he is considered the most complete and dominating bullfighter in the history of bullfighting. He starred alongside Juan Belmonte, with whom he maintained a rivalry and at the same time a close friendship, in the so-called Golden Age. of bullfighting during the 1910s. His premature and unexpected death in the Talavera bullring, at the peak of his professional career, only increased his legend as a master of the old bullfight and definitive transition to bullfighting. modern bullfighting.

Biography

Early years

Son of the bullfighter Fernando Gómez el Gallo and brother of two other bullfighters (Rafael and Fernando), he belonged to the Andalusian bullfighting dynasty of the Gallo. He was the brother-in-law of the bullfighter and playwright Ignacio Sánchez Mejías.

He was born on May 16, 1895 in the Huerta de El Algarrobo (Gelves, Seville), and was baptized José Miguel Isidro del Sagrado Corazón de Jesús Gómez Ortega. He lost his father when he was barely two years old, which is why the Gómez Ortega family moved to Seville, where Joselito began his school years. He frequented the La Barqueta farm, owned by the Sevillian doctor José Sánchez Mejías —father of the bullfighter Ignacio Sánchez Mejías—, where he took his first bullfighting steps practicing with tame cattle and regularly attended the Alameda de Hércules, a meeting point and “bullfighting school.”, outdoors, where the boys practiced bullfighting. He was considered a bullfighting prodigy in his time.

The first time he bullfighted a calf was when he was eight years old on Valentín Collantes's farm. From that moment on he was a regular in Miura's tents along with his brother Rafael. At twelve years old he rapiered an era and was prevented from rapiering another because he was considered too developed for Joselito's age.

Gregorio Corrochano, bullfighting critic and essayist, commented on Joselito's early bullfighting hobby:

"Leave your mule toree." The little boy, who was impatient to go out, "without hesitation he went with his left hand; the becerra plugged him a lot, stood up and barely let him twist. Rafael said to him, "Joseph, don't you see that he plugs in the left? Touch it with the right.” "With the right?" said Joseph. Come on, you take it." And he gave the crutch to his brother. Raphael the Gallo came out with the crut on the right hand, and when he gave the first pass, he hung up and knocked him down." They asked the sister how she knew the danger on the right side, and she explained: "Because since she came out she did things to be twisted. They can't have twisted her more than in the blacksmith, and as the boys who stumble when the calves squeeze with the right, I understood that when I was plugging on the left side, the right could not be touched. And you've seen it." They fell into the account that he was right, and since then don Eduardo Miura added after saying, "It seems like a cow has been born to him."

He debuted as a professional at the age of twelve, on June 13, 1908, in Jerez de la Frontera, with the youth group of Sevillian children in which José Gárate Hernández Limeño was also in. He fought calves from rancher Cayetano de la Riva, along with José Puerta and José Gárate. He wore a green and black light suit. He immediately impressed with his style, his ability to handle the difficulties of the fight and his ability to understand the characteristics of the bulls he had to fight. He was hired to deal in Portugal with José Gárate Hernández Limeño, where he ended up managing the economic administration of his group at the age of fourteen. Back in Spain, he announced himself with Limeño in the squares of Cádiz, Jerez de la Frontera, Seville and Málaga.

His career as a bullfighter was dynamic and fast. In 1910 he acted in thirty-seven calves, and in 1911 he fought thirty. On May 14, 1911, after Limeño was injured in Écija, he alone fought six bulls from Felipe Salas' iron in the bullring of Cádiz, leaving the bullring on his shoulders. On October 24 of the same year he stabbed a Cinqueño bull behind closed doors in the Maestranza in Seville.

On June 13, 1912, he debuted in Madrid in the plaza on the Aragón highway — known as the Plaza de la Fuente del Berro — announcing himself as the Cuadrilla de Jóvenes Sevillanos, as Gallito chico, also used by his brother Rafael. Joselito refused to bullfight the bulls from his lot, property of the Duke of Tovar, considering them small and unsuitable for their debut in the Madrid bullring, insisting the company to let him bullfight. a bullfight and not bullfights, from Olea's livestock, which was also in the corrals. The firm and irrevocable decision of the young bullfighter led him to obtain the acceptance of the public in his presentation, which established him as a figure of bullfighting. He made fourteen more walks in the Spanish capital. Ten days later, on June 23, he repeated his attitude in Seville in a one-on-one with José Gárate Hernández Limeño, with steers from Moreno Santamaría's ranch. .

A long bullfighter in his line, dominator of all the i's of the fight, he was considered very capable with the cape, the latter ability which he continued to improve throughout his career. In Cossío's encyclopedia he is described as a banderillero with unique abilities, superior in the confrontation between bull and bullfighter and very effective in supreme luck.

Youth and maturity

He took the alternative at the age of 17 on September 28, 1912 from his brother Rafael Gómez El Gallo, who was also called el Divino Calvo. The doctorate bull was called Caballero and belonged to Moreno Santamaría's iron. He confirmed the alternative in Madrid, that same year, on October 1, a few days later, where his brother Rafael also told him He gave the tackle to stock the burel named Deer, from the Duke of Veragua's livestock, a specimen with a light soapy appearance, well armed with antlers and with a curly head. On June 5, 1913 He cut off the first ear in Madrid, with the only previous swords to achieve this victory being Chicorro, Bombita, Machaquito, Vicente Pastor and his brother Rafael el Gallo.

As a bullfighter, competitions began to emerge with Ricardo Torres Bombita, Machaquito, Vicente Pastor, in a certain way with his brother Rafael the Gallo and later with Rodolfo Gaona, the Caliph of León (from León de los Aldamas, Mexico) and, the best known, the one that emerged on April 21, 1914 with his countryman Juan Belmonte García El Pasmo de Triana, i> rivalry that was transferred to the fans. Together with those last two, of different styles, they formed a triad that captured popular attention for several years.

Regarding the rivalry between Joselito and Belmonte, it lasted from 1914 to 1920, starring in what years later bullfighting critics, at the initiative of Gregorio Corrochano, called Golden Age of Bullfighting, whose shortlist, according to the journalist and bullfighting commentator of the weekly El Ruedo Julio Fuertes —Juan León—, were the right-handers Rodolfo Gaona, José Gómez Ortega Gallito and Juan Belmonte, who formed posters with great attraction for the public, being the greatest bullfighting figures of the time.

In his intense career Joselito carried out a series of tasks on bulls considered famous and that are part of the lessons of good bullfighting, such as the bull Almendrito from the Santa Coloma ranch in Seville, or the task to Napoleon.

On September 30, 1915, in one of the many solo bullfights in which he participated, he was awarded, for the first time in the Real Maestranza of Seville, the ear of the bull Cantinero, of the Santa Coloma cattle ranch. This recognition, which also wanted to reward his performance in the Miura and Murube running of the bulls, meant the breaking of the prohibition on cutting ears in that bullring.

The proof of his extreme maturity, already at twenty years old, is in the six bullfights he took on in 1915, killing the six bulls: in the plaza of Málaga on June 3, with cattle from Medina Garvey; in Andújar on July 4, with Murube; San Sebastián on August 22, with cattle from Santa Coloma; in Almagro on August 24, again with Murube; Seville September 30, again Santa Coloma; and Valencia in October, with the Miura.

He was the first right-hander in history to overcome the barrier of one hundred celebrations per season, achieved in the years 1915, 1916 and 1917, with 102, 105 and 103 celebrations recorded respectively.

The 1918 season started with an unusual event, because in the old bullring of Madrid he granted, acting as godfather, a double alternative, to the right-handers Manuel Varé García Varelito and Domingo González Mateos Dominguín. On June 6, 1918, he fought at the inauguration of the Plaza la Monumental in Seville, which would be known by his fans for the patio of his house.

He lowered his activity a little in 1918 due to a goring that a bull inflicted on him in the month of May in the plaza of Zaragoza, which prevented him from appearing in six bullfights; He fell ill in the month of August for this same reason in San Sebastián, taking a while to heal; and these circumstances were joined by the suspension of different celebrations due to the Spanish flu of 1918.

The 1919-1920 season was the only one in which the bullfighter was in America: in December 1919 he fought his first afternoon in Lima. In all the time he stayed there he performed the Paseíllo up to nine times and, on a tenth in which he was locked up with six bulls from El Olivar on February 8, 1920 for his own benefit, he cut off five ears and a tail and it was his last bullfight in America.

The 1920 Spanish season, in which he fought 23 afternoons, began at the Real Maestranza on April 4. In total during this short season he made the Paseíllo in the Maestranza up to six times. Afterwards he went to Madrid, on one of the few afternoons of his career in which he had no luck with the horns, although on another of his two afternoons he cut the poster an ear and later he fought in the Monumental in Barcelona, leaving through the front door after cutting off two ears. This season he had 96 contracts signed, but most were not carried out.

Approach to his bullfighting

The bullfighting of Joselito el Gallo is widely developed by different bullfighting historians and critics such as José Mª de Cossío, José Alameda, Fernando Claramunt, Gregorio Corrochano or Paco Aguado, among many other authors.

Joselito in his bullfighting was a dominating bullfighter in the bullfight, the backbone and epicenter of a bullfighting era, the Golden Age, from his beginnings in the bullrings. The right-handed bullfighter who has marked a before and after in modern bullfighting, demonstrating his love and vocation for the bullfighting profession around which he articulated his life. Joselito's art was outlined and refined over time, an art and a technique that were linked to the stylistic perfection of Belmonte, from which he also received influence.

Effective master in the handling of the cape since he was a bullfighter, he handled bullfighting with ease in the Veronica style, a skill he practiced for years until finding his hallmark in 1916; the long change — throw performed on knees —, common in his repertoire and in the tradition of the bullfighters of the family dynasty; or the cuts with the cape on his arm, the removals, and other attacks with the cape were part of the wide and varied repertoire of the Sevillian bullfighter, who innovated by improvising some lucks, and reached limits not reached in other times.

In handling the muleta he imposed his concept of bullfighting, adapting to the different conditions of the bull until he imposed himself on it. With a preference for natural bullfighting in the round, he used to use the help of the rapier to open the muleta. This practice was criticized by fans in the Plaza de Santander in 1915, but the bullfighter responded by lavishing natural muleta passes with the technical perfection that he then maintained until his death. Along with the natives, Joselito incorporated the forward grinding into his muleta repertoire, useful for those bulls that defended themselves and were tame in the ring. With the rapier he was not a bullfighter with a refined style, although he did execute the supreme luck in many cases in an impeccable and efficient manner with speed and safety, especially in the way of going in to kill the volapié and receiving. In the square a sword was shown that he knew how to impose discipline in his group, just as he also knew how to take advantage of the qualities of his subordinates.

A more analytical point of view is proposed by the bullfighting critic Gregorio Corrochano, in the essay What is bullfighting? Introduction to bullfighting by Joselito, published just ten years after Cossío.

Regarding the knowledge of the cattle, Corrochano expresses the power of Joselito to intuit the characteristics and the way in which these should be approached during the fight, adopting the particularly appropriate one for each bull. The The author gives as an example a task performed by the right-hander on a Miura bull in Seville that refused to go to the horse in the third of rods:

He did not enter the horse, he took the stick, and he himself took care to put him in luck again and again, encouraging his spicer. "Come on, Camero," until this "he grabbed him in the morrillo ball, a little front, which is how the head of the bulls is held, and made them humiliate [...], and in the last remove Joseph left his cape on his face to see what the bull was doing, and he saw that he stretched his head, defeated with less violence; the bull had changed. [...] The first passes were of great emotion; the bull was sprout and threw two or three very dangerous hulls. But the bulldozer doubled with help from a low loading his luck, without removing his crutches from his eyes, and without letting him take it, making him a steer and holding the cloak on his knee a little bent; the bull swept through those punishment passes and surrendered. [...] There was already the bull hanged [...], it was already possible to twist it in that more visibly, lighter, more artistic way".

Gregorio Cornacho —What's torear? Introduction to the tauromaquia of Joselito-

Joselito emphasized the need and importance of knowing the bull's wants and the changes that could occur in their behavior during the fight, especially in the old ones.

The competition between Gallito and Belmonte was in the rings (because outside of them they treated each other friendly, with mutual admiration), and was due to the different ways of interpreting bullfighting: one rational, that of Joselito, and the other more passionate, that of Belmonte. Although Gallito was astonished by his mastery, by his extension or by his dominance in the fight, Belmonte's style was the opposite, he was disturbing by the inexplicable, the impossible. But both concepts did not remain isolated, but began to give way and understand each other to end up merging, without either losing its personality, without being alike. That is why their respective supporters argued on the streets.

In the case of rods he showed certainty, ordering that the blows be administered according to the conditions of the bull, to comfort him or to preserve his faculties, avoiding unnecessary blows, or excessive actions of the picador, such as the auger, and assuming the removal of the horse at the right time.

As for his work as a banderillero, Corrochano previously exposes the qualities of Guerrita, who demonstrated great skill in the development of luck, and also of Fuentes, a master in placing pairs facing each other while walking. If Joselito did not assume the garapullos, during the luck he observed the changes of the bull with precision, and his trusted banderilleros had to prevent the bull from picking up bad taste. He placed pairs at an angle in compromised terrain with bulls tied up on boards, and to avoid the bull's aftertaste, he flagged on both sides; and after the last pair, he avoided the blows of his subordinates, except in bulls of sense.

Regarding the temper, it was Belmonte who dominated the most bulls by making them charge the muleta gently; This defined his style. In this basic rule of modern bullfighting, Joselito, as Corrochano has explained, was assimilating the rival's technique. That is why Cossío also goes so far as to say that Joselito, in the last years of his life, emulated Juan by bullfighting with determination.

As for the natural pass, Corrochano starts from the ancient Bullfighting about the regular pass, and how Cayetano Sanz transformed it, with feet together, and describes the ideal way to give it by carrying the lot and finishing with the chest. He then evokes Gallito and Belmonte, who never linked more than five natural passes in a row. As an exception, one afternoon Gallito gave seven natural passes to a bull from Gamero Cívico. He insisted on the importance of linking them well without breaking the continuity or interrupting the bullfighting, because it is effective, difficult, dangerous and bullfighting.

In low-level bullfighting, Joselito, in difficult bulls - rough, with power, suspicious, with a broken head, stubborn, senseless - used to send his trusted pawn to Blanquet, and before that to Sánchez Mejías to be given a few blows on the hood, to test the condition of the bull, and then carry out the muleta task once he saw that the bull was putting its head into the muleta.

The year that Belmonte stayed in America, Joselito found himself alone, without competition, and it was his worst year, since his bullfighting did not vibrate because he lacked the incentive to compete with Belmonte.

Death

On the afternoon of May 16, 1920, Joselito did not appear in the Talavera de la Reina programming. After considering several possibilities, based on Ignacio Sánchez Mejías fighting, the one that seemed like the last poster was made up of Rafael Gómez El Gallo, Ignacio Sánchez Mejías and Matías Lara Merino Larita. Joselito, angry at what he considered ungrateful treatment on the part of the Madrid fans, had to fight that same day in Madrid, but "he gave all kinds of facilities for the new subscription, in exchange for the favor of "That they would let him come to Talavera." Other reasons for going to the plaza were that his father had inaugurated it on September 29, 1890, and he made a toast to his memory. He was, therefore, included at the last minute for the celebration, finally hand in hand with his brother-in-law Ignacio Sánchez Mejías, in a bullfight promoted by his relationship with his friend Gregorio Corrochano, in which several businessmen also participated.. The Talavera fans did not believe until the last moment that the pinnacle of bullfighting was going to fight in his small plaza.

The fifth bull, named Bailador, was a small animal, short-horned and burriciego—he could only see it from afar—, belonging to the livestock of Mrs. Widow of Ortega. He killed everyone. the horses that were for the third of rods. Then, after taking refuge in the boards, from where Joselito was pulling him out with jerking passes, he unexpectedly ripped him off, grabbing him squarely by the right thigh, and in the air he gave him a sharp and accurate goring in the lower abdomen. Goring caused his death, despite the efforts of the five doctors who were trying to rescue him from collapse. The relevance of the news was illustrated in the condolences sent by the Cordoban bullfighter, now retired, Rafael Guerra Guerrita to his brother Rafael Gómez El Gallo : «Very impressed and with true feeling I send you my deepest condolences. condolence. The bulls are over! The image of Our Lady of Hope Macarena was dressed in mourning for her death, for the first and only time in her history. Muñoz Seca dedicated some limericks to him that same year, which Cossío mentions in his work and which became a pasodoble.

Joselito was buried in the San Fernando Cemetery in Seville, where he has a mausoleum financed by popular subscription and made by the Valencian sculptor Mariano Benlliure. The Spanish Film Archive preserves an audiovisual collection of Joselito's massive funeral along with some fragments of the bullfighter's tasks.

Every May 16, in all the bullrings where a bullfight is held, a minute of silence is observed or the groups perform the Paseíllo dismounted - with the montera in their hands - in memory of the death of Joselito.

In the La Caprichosa bullring, in Talavera de la Reina, the plaza opens to the rhythm of the pasodoble Gallito, in honor of the Sevillian bullfighter. The pasodoble was actually composed in honor of his older brother Fernando Gómez Ortega, Gallito Chico , and premiered in 1904.

Centennial of his death

May 16, 2020 marked 100 years since his death in the Talavera de la Reina bullring. For this reason, and due to the weight of this bullfighter within the world of bullfighting, there were several initiatives that, In different parts of Spain, they were launched as a memory and tribute; However, some of them were modified or postponed due to the global pandemic of the COVID-19 disease. Some of these events were:

• In the Port of Santa Maria, the council of Plaza de Toros prepared a series of acts around its figure, recalling the famous phrase that the bullfighter pronounced concerning the municipality: "who has not seen bulls in El Puerto does not know what a bullying day is."
• In Talavera de la Reina, the Council of Cultural Promotion and the Taurino Talaverano Club developed a program of acts and actions aimed at promoting the cultural dissemination of the figure of the bullfighter.
• In Madrid, the autonomous government made a cultural program in which conferences, round tables and projections were organized, whose aim was to deepen the figure of Joselito and its influence on the tauromaquia and society of the first half of the century. XX.. As an event to be noted, reference should be made to the exhibition entitled "Año Gallito" located in the Sala Antonio Bienvenida de la plaza de toros de Las Ventas.
• In Seville, the brotherhood of the Macarena, next to the chair Ignacio Sánchez Mejías of the University of Seville, developed a cultural programme, with an annual duration, which includes a series of conferences, events and a presentation on the figure of the bullfighter. In addition, the Taurino Circle of the Carmona Gate promoted an initiative called Flowers for José consisting of depositing flowers at the Monumental gate on May 16 as a tribute. The Seville Football Club, of which Joselito was a partner, was one of the institutions that deposited flowers in his honor.

• In Gelves, the birthplace of the bullfighter, a calendar of events commemorating the death of the diester was scheduled which, due to the situation of confinement generated by COVID-19, the consistory decided to move to social networks.
• On 16 May, the programme Tired zero of TV2 honored the bullfighter with a special program on the occasion of the centenary of his death in which, among other things, an interview was included with Luis Francisco Esplá.
• In Olivenza, in the framework of the Toro Fair organized in the town, a tribute was made to Joselito The Gallo for the centenary of his death.

Joselito in art

Sculpture

Daniel Vázquez Díaz made a series of portraits that he presented at the National Exhibition in 1915 along with an oil painting painted in 1911 and presented at the 1913 International Salon in Paris —The Death of the Bullfighter—. In this work he represented in life size a recently deceased bullfighter lying covered with a walking cape surrounded by desolate women and men, moments before being transferred to the cemetery. The work was exhibited in said exhibition with the title Pain. The compositional scheme of this work by Vázquez Díaz was used by Benlliure in the Joselito funerary monument ten years later. It is not certain that Vázquez Díaz painted Joselito, although in one painting a bullfighter appears who bears a certain resemblance to the bullfighter and it could be Joselito, however, he did portray his brother Rafael.

Painting and drawings

Various painters have painted Joselito. Among the best known is Genaro Palau Romero, who made an oil painting in 1914 in which the bullfighter appears dressed in shorts together with Eduardo Miura on the rancher's farm.

Ignacio Zuloaga represented it in another oil painting in 1903, The family of the gypsy bullfighter, a Spanish work of manners that belongs to the Hispanic Society of America.

By Enrique Martín Higuero it is a portrait that was on the cover of the May 20, 1943 issue of the magazine Sol y Sombra. This portrait was auctioned in 2011. Along the same lines, Ricardo Marín Llovet made drawings that were on the cover of the bullfighting weekly La Lidia, in the newspaper La Libertad and in the supplement La Corrida. Other drawings made in charcoal and ink with a pen were made by Manuel Benedito, currently preserved in the Bullfighting Museum in Madrid; Julián Alcaraz, and Manchón.

The poster artist and painter Carlos Ruano Llopis made another portrait of the bullfighter in 1917, which is preserved in a private collection.

The work Bullfight in the Plaza de la Maestranza by Ricardo Canals represents a bullfight in the third of banderillas where a bullfighter salutes the bullring. A study by Blanca Ramos Romero, a graduate in art history from the Complutense University of Madrid, maintains that the right-hander could be Joselito. The work was acquired in 1984 and belongs to the collection of the Banca Más Sardá in Barcelona.

Joselito was represented with Ignacio Sánchez Mejías in the work by Manuel Iglesias Caraballo titled Ignacio Sánchez Mejías receives the alternative from the hands of Joselito, an oil painting painted in Jerez de la Frontera from a photograph in 1922.

The work of Daniel Vázquez Díaz, Bullfighter in red and black, from the d'Ornellas collection (1943) in which a posed bullfighter with a walking cape can be seen, Its features suggest that it could be a portrait of Joselito that the painter made as a posthumous tribute.

Another of the works, Joselito «el Gallo», by Roberto Domingo, in which the right-hander performs a kind of banderillas, was reproduced in an issue of the magazine La Lidia in 1914. The work on cardboard is preserved in a private collection in Getxo.

Poetry

Among the poets who have written verses dedicated to the bullfighter are those of Gerardo Diego who in 1926 wrote the Elegía a Joselito that was published in 1928. The poet expresses his feelings for the loss of the bullfighter and the friend. In 1963 the elegy and a second poem called Joselito, were included in Lucky or Death, a monograph on the poet's work over twenty years in tribute to bullfighting. José María Pemán, Fernando Villalón, Antonio and Carlos Muriciano, Felipe Cortines Murube and Montero Galvache among others. By Rafael Alberti it is the poem included in El alba de alhelí.

Tapestry

Pedro Flores García made a large tapestry called Tauromaquia in which he included the Sevillian bullfighter, for which he made a significant number of sketches by Joselito.

Literature

Gustavo del Barco published his biography in Joselito el Gallo in 1925, and Daniel Pineda Novo also published his biography in Joselito el Gallo in 2009.

Music

Inma Vílchez mentions him in the song "Más bullfighting than the albero" in the album Cambio de Tercero, from 2018. & # 34;... Joselito in the purity of him, Gallo, the king of the bullfighters & # 34;.

Manuel Lombo sings Silence for a bullfighter in which he describes the sadness that overcomes Seville due to the death of the bullfighter. “…and Seville went crazy He repeated loudly: Why do I want my joy! Because I want my joy, Yes, yes, Joselito has died!"

Camarón de la isla also mentions him singing bulerias alongside Paco Cepero, Turronero and Paco de Lucía.

Statistics

Some significant data regarding Gallito's professional career:

• In his seven full seasons of alternative (without counting the first and the last, which were very brief), he twisted twenty-two cumshots dealing solo the six bulls, stomping in almost all, in addition to the bull.
• He performed the ride in 681 bullfights, twenty-six of them as the only sword.
• He staggered 1 569 bulls, of which forty-three were of Miura.
• He gave in Portugal twenty-two bulls.
• He alternated with fifty-two different bullfighters:
  • With his great rival, Juan Belmonte, a total of two hundred and fifty-seven afternoons.
  • With his brother, Rafael The GalloOne hundred and eighty-four afternoons.
  • With Rodolfo Gaona, a hundred thirty-nine.
  • With Saleri, seventy-eight.
  • With Posada, sixty-two.
  • With Vicente Pastor, fifty-eight.
  • With Fortuna, count and nine.
  • With Sanchez Mejías, his former banderillero and brother-in-law, thirty-six.

• The bullfighting squares in which it most twisted were:
  • Madrid (81 afternoons);
  • Barcelona (64);
  • Seville (58);
  • Valencia (49);
  • San Sebastian (29);
  • Bilbao (26);
  • Malaga (22);
  • Zaragoza (19);
  • Santander (19);
  • Valladolid (18);
  • Pamplona (18).