The Alfredo Kraus Opera Festival is held at Las Palmas' Pérez Galdós Theatre.

Southeast of Vegueta, on the Guiniguada ravine's left bank. It's one of Spain's most modern theatres and a city landmark after a 2007 makeover.

Before the mid-19th century, Las Palmas lacked a theatre. Benito Lentini, an Italian musician and composer, was its biggest proponent. In 1842 and 1845, Santiago Bary built the Cairasco Theatre. First Las Palmas theatre. The Gabinete Literario aggravated the venue's architectural faults. A new theatre was needed due to space and construction issues.

Other portions of the city were considered for the new coliseum, but a site owned by the municipal council in the Guiniguada ravine was chosen. A civil society by shares was founded to fund the new theatre, like with the Cairasco. Francisco Jareo y Alarcón (Albacete, 1818) built the Palacio de Bibliotecas y Museos in Madrid.

In 1862, the so-called empréstito patriótico was used to raise funds (patriotic loan). Financial concerns delayed building for more than two decades after 1867. Stagno gave a benefit concert at the Teatro Nuevo, afterwards renamed the Teatro Tirso de Molina, in 1888. A few years later, with the staging of Electra by Benito Pérez Galdós, performed with great success in 1902, the theatre gained the name of the Gran Canarian playwright, who by then had some reputation and it appeared more logical to bestow his name to the theatre in his home town.

Since opening in 1890 as Tirso de Molina with La Traviata, the Pérez Galdós has seen phases of greater and lesser cultural activity. Many plays, concerts, recitals, carnival galas, and institutional events have been staged there. Canary Islands Music Festival and Alfredo Kraus Opera Festival are recent highlights. Given that the Alfredo Kraus Auditorium can accommodate a large part of the activities done there before, the new stage will centre on opera premieres.

The stage mouth and false ceiling are decorated with plaster mouldings and frescoes by Néstor Martn Fernández de la Torre with modernist and symbolist traces representing different allegories of the performing arts, such as Apollo and the muses above the stage and The song and The dance on the sides. Néstor created the lantern's stained glass window and a 14-by-10-foot curtain made of silk and velvet.

Camille Saint-Sans arrived in Gran Canaria in 1889 posing as a wine representative and became a frequent at the Casino, especially for musical events. He suggested and observed during Philharmonic Society rehearsals. His friends recognised him from a photo in a French missing-persons article.

Saint-Sans wintered in Santa Mara de Gua, Gran Canaria. On the island, he wrote part of Samson and Delilah and the Vals canariote and translated Millares brothers tales.

This hall is on the first floor, accessible by the stairs of honour on both sides of the stalls' main entrance. The entrance doubles the ground floor's area and leads to the box of honour and amphitheatres. The hall floor is geometric marble. Mahogany walls stuccoed with Las Canteras Beach sand. Néstor created fruit-themed borders and physical pieces for this space between 1926 and 1928. Néstor designed the chamber's stained glass and lighting.

Two lounges flank the Saint-Sans. Upper parts of their walls are covered with ultramarine blue wallpaper with golden ochre floral motifs made of vegetable fibre resembling velvet.

Sergio Pérez Parrilla expanded the original scenic body in 1989. It was removed and reconstructed with a reinforced concrete construction in 2004. A gigantic crane lifted and positioned the 30-ton stage box.

New audiovisual and stage equipment are included. This part includes dressing rooms, rehearsal space, administrative and service facilities, and stage equipment. The 30m-high motorised comb allows stage changes. It contains 24 750-kg and 13 2220-kg motors. 55 tonnes. 10 winders move a huge network of steel cables, providing the device great versatility. Sensors monitor the comb's automated movements.

The 9-meter-high, 11-meter-wide stage has platforms to extend over the pit.

Each show's lighting is adequate. 500 independent 1 million-watt circuits and TV circuits without cables between audience sites have been established. Control systems, lighting settings, and luminaires are included.

The theater's AV system is designed for opera, drama, electro-acoustic concerts, and exhibits. The new practise room's tech will be connected to the venue's. Two Steinways and a harpsichord are onstage.

A revolutionary movable acoustic shell turns the stage into a perfect box that delivers sound to the audience. It debuted at the reopening concert.