El Príncipe Gitano (Enrique Castellón Vargas)

Musical style and repertoire

As a flamenco-rooted artist, El Príncipe Gitano blended traditional copla and flamenco vocal techniques with popular-song arrangements and dance routines. He cultivated a charismatic, often flamboyant stage presence. His best-known recording is the lively number "Obí, obá", which became a signature tune. He also produced Spanish-language adaptations of international hits, including a version of Elvis Presley\'s song "In the Ghetto" that illustrated his willingness to cross stylistic boundaries and appeal to a broad audience (see adaptation).

Film and stage career

Alongside music, Castellón maintained an active film and stage career. He appeared in a range of Spanish films from the 1950s through the 1960s, often in roles that showcased his singing and dancing. Selected film appearances include:

• Brindis al cielo (1954)
• Un heredero en apuros (1956)
• Veraneo en España (1956)
• El alma de la copla (1965)
• El milagro del cante (1967)
• Españolear (1969)

These films illustrate the mid‑century Spanish industry’s interest in musical performers who could attract popular audiences across radio, film and live shows.

Life and legacy

Before focusing fully on entertainment, Castellón tried bullfighting briefly—a not uncommon pursuit for showmen of his generation—and later concentrated on recording, touring and acting (bullfighting is part of his early biography). He remained a recognizable name in Spain for several decades, noted for combining traditional flamenco elements with mainstream popular music and for his theatrical flair.

El Príncipe Gitano died in Madrid on 22 April 2020 from complications related to COVID-19, at the age of 88. His death was reported while Spain was experiencing the broader public‑health crisis, and it prompted retrospectives on his role as a bridge between flamenco roots and mid‑century popular entertainment in Madrid and beyond.

Notable aspects of his career include his adaptability to different musical trends, a striking stage identity, and a modest but persistent filmography that preserves examples of Spain’s musical cinema from the era.