1
María Rosa was adopted by the Gálvez family, although the circumstances of this adoption, as well as other details of her life, are still unclear.
2
See Serrano y Sanz's entry on Gálvez in his Apuntes para una biblioteca. See also Julia Grinstein's more recent study La Rosa Trágica de Málaga.
3
See Daniel Whitaker Voz malagueña; Julia Grinstein La Rosa Trágica de Málaga, and Emilio Palacios Fernández «Noticias sobre el parnaso dramático femenino en el siglo XVIII».
4
In his first diary from 1790, Jovellanos mentions visiting «la Gálvez» in Madrid (Diarios 115-116). Some doubt it was necessarily this Gálvez, but with lack of further reference in Jovellanos' text, it is a distinct possibility, given María Rosa Gálvez's connections at this time.
5
See Palacios Fernández for more information about Barrenechea, «Noticia sobre el parnaso femenino» 107-108.
6
These include four original comedies, eight original tragedies, one «comedia lacrimosa», one original zarzuela and two translations from French (an opera and a comedy). See Serrano y Sanz and Whitaker La voz malagueña, Appendix I.
7
Grinstein addresses the possible reasons for Gálvez's money problems in her monograph. It is evident that after her separation funds were short and she was forced to look for financial help to realize her professional goals.
8
For a more complete portrayal of the importance of women to the Spanish stage, including articles about women dramatists, actresses, and directors, see Autoras y actrices en la historia del teatro español, Luciano García Garrosa, editor; especially Emilio Palacios Fernández's article «Noticias sobre el parnaso dramático femenino en el siglo XVIII».
9
All of her fourteen original works were either published or appeared on stage.
10
Eva K. Rudat, «María Rosa Gálvez de Cabrera (1768-1806) y la defensa del teatro neoclásico».