This article discusses the staging of the“white”revista (revue) Acuarelas (1930) by the Chilean composer Osmán Pérez Freire in Madrid, by a company consisting of both professionals and amateurs of aristocratic roots and combining Spanish,SouthAmerican and NorthAmerican musical practices.The reconstruction of Acuarelas is based on reports, reviews and photographs from the press of the period, scores published in Chile and the experience of our own company’s production of some of its numbers. My intention is to explore aesthetics of the early amateur revue, as well as the ideologies, interests and destinations of the aristocratic audience of Madrid ad portas of the Second Republic.This enables us to reflect on constructions of otherness, the role of women, the absorption of modernity and the articulation of music theatre traditions from the beginning of the twentieth century.