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|Died||1886 (aged 54–55)|
|Occupation||Musician, composer, director, producer, businessman|
|Spouse(s)||sra. Rodríguez (1850–20)|
|Children||Virginia Reparaz, Gonzalo, Elena, Luisa, María|
He gained renown as a result of the success of his many operas, although his zarzuelas were well received works. He directed the company musically for the first time in Santander. After his death, his extensive production was generally forgotten by musicologists who try to darken reality. During his career he covered most of the musical areas of the Bourbon Restoration period (1875-1885), opera director, renowned orchestral conductor, composer of operas, zarzuelas, symphonic and chamber music. In 1860 was director of Teatro de la Zarzuela of Madrid. After a long controversy that delayed its premieres, the Italian operas ascended to its definitive consolidation.
In Zaragoza was confirmed composer of company of zarzuela, premiering the zarzuela The feudal castle. In Madrid he was a masterful composer in the circus theater company for many years, and premiered Fifth and a Substitute, Harry the Devil, Pablo and Virginia, in collaboration with Emilio Arrieta and José Inzenga, A Throne and a Disappointment. In Valencia he worked in opera at the Teatro Principal in the season of 1882-83. At the same time, he approached art zarzuela with unequal success. His production, although inferior in quantity to that of his contemporaries Ruperto Chapí, Gerónimo Giménez and Manuel Fernández Caballero, is of great quality, given the variety of genres he approached.
He adopted the most modern procedures, within the limitations of the genre. On the other hand, El wrote symphonic music with a singular insistence, at the same time in which in Spain scarcely existed great orchestral ensembles. As a result of this were his symphonies, which revealed a strong assimilation of Verdi and compositional techniques of Beethoven. His most successful works are those that feature a genuine Spanish character. During his last years composes several symphonic poems with clear and nostalgic personages. In the genre of chamber music has left us several works, including quartets, as well as a trio and a quintet, composed by markedly classic points of view, influenced by the French world of composers. But it must not be forgotten that he had gone to Italy to study and there composed Oratio in Rome as one of the works written of clearly Italian origin.
He worked in the Teatro San Juan de Oporto, Portugal in the 1870s. There he wrote his four first operas. He was director of the Real Theater of San Juan from 1872 several seasons. He also wrote the song music of nineteenth-century Spain, A Mi Nazarena with José Zorrilla and El Beso del Poeta.
Antonio was the father of six children until his death, but left only two with more than 18 years. Gonzalo's eldest son was a famous reporter and journalist who gave lectures and wrote some books about Africa. In 1890 his daughter Virgilia married the well-known director of orchestras and in 1892 his grandson Antonio Videgain Reparaz was born.
In the same decade two of his daughters married military men and future generals of the Spanish army, their grandchildren being the sons of the General in chief of the Spanish armies Mr. Burguete Lana.
− He wrote six operas and many zarzuelas in the Sigle XIX.
- Gonzalo de Córdoba. Opera premiere in Oporto.
- Pedro el cruel. Opera
- Ardides y cuchilladas.
- Pablo y Virginia Theatre Novedades, premiere on 6 November 1862.
- El paraiso de Madrid T.Circo zarzuela in 3 acts with Mr. Rivera.
- El magnetismo….
- La ventá encantada in honors of Miguel de Cervantes 1871,Zarzuela in three acts in vers, letra Adolfo García and Becquer.
- La cruz del valle T.Circo. premiere 22 October 1860.
- La gitanilla 27 September 1861 T.Zarzuela.
- La mina de oro T.Circo premiere 19 November 1861.
- Harry el diablo : zarzuela in two acts y en vers, authors:Serra, Narciso and Miguel Pastorfido. Premiere in Madrid, 1862 Teatro del Circo, 21 February 1862.
- Las bodas de camacho 9 October 1866 T.circo
- Un quinto y sustituto.
- La música española en el siglo XIX Celsa Alonso González, 1995.
- Asejo Barbieri, 1996.
- Cervantes y el Quijote en la música: estudios sobre la recepción de un mito por Begoña Lolo.
- Gustavo Adolfo Becquer y Reparaz
- Biblioteca Comunidad of Madrid, Work 'Harry el diablo'. 
- Real academia de Bellas artes of Valladolid. 
- Antonio Reparaz, un músico en Oporto, nuevos datos, University of La rioja. [permanent dead link]
- Life and work, biography, euskalbiographys, Book of university Vasca. 
- Dates of life in Library national of Spain, Biblioteca Nacional española. [permanent dead link]
- Instituto Cervantes Cervantes y Reparaz, [permanent dead link]
- Un músico de la Restauración.Antonio Reparaz Madrid: Instituto Complutense de Ciencias Musicales, 2002, Prensa en University Complutense of Madrid [permanent dead link]