Podcast Summary: Más de uno — Radioficción Ep. 19 - “Entrevista a… Hans Christian Andersen”

Podcast: Más de uno
Host: Carlos Alsina, Onda Cero
Air Date: January 14, 2026
Episode: Radioficción – Ep. 19: Entrevista a… Hans Christian Andersen

Overview

This special “Radioficción” episode, hosted live from the Teatro Luis del Olmo, presents a creative, humorous fictional interview with famed Danish author Hans Christian Andersen. Blending playful metafiction with genuine literary insight, Carlos Alsina and Sergio del Molino engage in witty banter, theatrical antics, and a unique exploration of Andersen’s life, legacy, and the deeper meaning of his iconic fairy tales. Along the way, the episode pays tribute to hard-working theater staff and offers a thoughtful reflection on the roots of creativity.

Key Discussion Points & Insights

1. Opening Banter & Live Theater Setting

• (00:06–02:00) The episode begins with a lively scene at the theater’s entrance, including a playful “mercadillo” (marketplace) for Montalvo hats, setting a whimsical, bustling mood.
  • “Sombreros Montalvo, la mejor marca de sombreros del mercado. Compré uno y le regalan una boina.” (00:29, C)

2. Farewell to Theater Colleagues

• (02:16–06:55) Alsina honors two retiring lighting technicians, Ángel Gómez Malo and Dani Golfín. The segment conveys genuine affection and respect for behind-the-scenes contributors.
  • “El teatro se sostiene sobre los hombros de muchísimos trabajadores... Hoy dos de esos indispensables trabajadores se jubilan.” (02:30, D)
  • Ángel stays offstage, reluctant to be in the spotlight, leading to playful coaxing and heartfelt thanks.

3. Production Constraints & Satire

• (06:57–09:56) A comedic interplay follows as Alsina and co-host Sergio del Molino discuss managerial demands to scale back production extravagance:
  • “La gerencia... considera que usas demasiados recursos.” (07:19, D)
  • Sergio, feigning indignation, bemoans the “imaginary budget” and mounting an entire Danish opera: “Había montado una ópera entera.” (08:12, A)
  • They humorously “dismiss” the Danish National Opera, quipping about cultural differences and the limitations of imaginary resources.

4. Arrival of Hans Christian Andersen

• (10:10–16:06) The main segment: Sergio introduces the “guest,” Hans Christian Andersen, played in character, who emerges after an orchestral overture (from La pequeña cerillera).
  • Memorable entrance with Andersen’s mix of humor and self-parody:
    • “Perdonen, que no se me saltan las lágrimas. Pero no es por la emoción... es el rapé que me irrita los ojos.” (10:19, B)
    • “Sí, aquí tenemos al mismísimo Hans Christian Andersen.” (10:32, A)

5. Setting the Literary Record Straight

• (11:07–12:45) Discussion on Andersen’s work, its originality, and contrast with the Brothers Grimm:
  • “Los Grimm cogían historias tradicionales y las reescribían. Malditos sean. Yo me inventé todo... la gente se creyó que eran cuentos tradicionales.” (12:32, B)
  • Andersen asserts his role as creator, not just collector, and playfully demands author royalties.

6. Autobiographical Elements in Andersen's Tales

• (12:55–14:54) Dialog shifts to personal inspiration, especially in La pequeña cerillera and El patito feo:
  • “La pequeña cerillera es un cuento sobre su madre.” (12:06, A)
  • Andersen confirms much of his writing draws directly from the hardship of his own youth: “Fui hijo de un zapatero... mi madre, pues lo pasó mal. Pobrecita mía.” (13:09, B)
  • On “El patito feo,” Sergio suggests it serves as Andersen’s truest autobiography, prompting a mix of good-natured ribbing and deeper conversation:
    • “Eso, querido amigo, es un poco cabroncete.” (13:46, B)
    • “Uno escribe de lo que sabe y lo que siente.” (13:37, B)

7. The True Nature of Writers

• (14:54–15:27) The hosts and Andersen reflect on creativity, alienation, and childhood adversity:
  • “Sólo los patitos feos somos escritores. Los cisnes que nacen donde deben y no se ven distintos, nunca escriben nada.” (14:48, B)
  • Sergio concurs on writing arising from discomfort and solitude.
  • Alsina inquires, “¿No hay escritores felices?” Andersen responds:
    • “No, lo que le estoy diciendo es que los escritores felices son un coñazo.” (15:21, B)

8. Playful Ending & Farewells

• (15:45–16:29) The segment winds down with laughter, brief musical reprise, and spirited goodbyes:
  • “Me vuelvo a mi época. Farbe, lal, examen.” (16:02, B)
  • Promises of open doors for lovers of literature, as Sergio and Andersen “exit” together.

Notable Quotes & Memorable Moments

• On originality:
  • “Yo me inventé todo... la gente se creyó que eran cuentos tradicionales.” – Hans Christian Andersen (12:32)
• On autobiographical truth in fairy tales:
  • “Toda la literatura habla un poco de su autor. Y quien diga lo contrario miente o es un plagiario como los hermanos Grimm.” – Andersen (12:59)
• On writing and alienation:
  • “Sólo los patitos feos somos escritores. Los cisnes... nunca escriben nada.” – Andersen (14:48)
  • “No hay escritores felices.” – Alsina (15:19)
  • “No, lo que le estoy diciendo es que los escritores felices son un coñazo.” – Andersen (15:21)
• On creative limitations:
  • “Me dais un presupuesto imaginario. Pues yo tiro de euros imaginarios.” – Sergio del Molino (08:28)
• On Disney adaptations:
  • “Casi siempre me reciben con la basura esa de Disney. … Qué canciones más horteras. Esto es mucho mejor.” – Andersen (11:24)

Timestamps for Key Segments

• 00:06–02:00: Playful opening at theater entrance, hat “mercadillo”
• 02:16–06:55: Tribute to retiring technicians Ángel and Dani
• 06:57–09:56: Satirical discussion of production constraints
• 10:10–16:06: Interview segment with Hans Christian Andersen
  • 10:10: Orchestral overture, Andersen’s dramatic entry
  • 12:06: Discussion of La pequeña cerillera and autobiographical influences
  • 13:46: The true meaning behind El patito feo
  • 14:54: The connection between alienation and literary vocation
  • 15:21: The myth of the “happy writer”
  • 16:02: Emotional, comedic farewell

Tone & Style

Throughout, the episode balances affectionate parody with literary insight, true to Alsina’s trademark blend of sharp wit and genuine curiosity. Andersen, as portrayed, flits between arch self-deprecation, acerbic humor, and bittersweet reminiscence—mirrored by Sergio and Alsina’s playful, contemporary commentary.

Conclusion

This episode of “Radioficción” stands out for its meta-theatrical humor and thoughtfully layered discussion on how creativity is fed by hardship, self-invention, and the experience of being different. Andersen’s legacy is re-examined not just as the creator of beloved fairy tales, but as the eternal “patito feo”—the misfit whose pain gives rise to stories that would become beloved by the world.