Ràdio Andorra. The Legend of the Station That Greeted in Three Languages

The abandoned headquarters of Ràdio Andorra in Encamp (photo: M. Castillo/Wikimedia, Netraam/Wikimedia, Damdediduda/Wikimedia)

In southwestern Europe, nestled between France and Spain in the Pyrenees, lies a tiny country - the Principality of Andorra. It has just 85,000 residents, the highest-altitude capital in Europe (Andorra la Vella), and although it is not part of the European Union, its currency is the euro. The country’s history dates back to the 8th and 9th centuries (during Charles Martel`s wars against the Moors). Since then, it was continuously contested between Catalan feudal lords and French counts.

Andorra only gained full sovereignty and its first constitution in 1993, the same year it joined the United Nations. Despite this, since 1278, the country has been ruled by a dual-headed system. Under the Treaty of Shared Sovereignty, power is divided between two co-princes: the President of France (currently Emmanuel Macron) and the Bishop of the Spanish city of Seo de Urgel (currently Joan Enric Vives i Sicilia). Since 1992, these figures have primarily ceremonial roles, with veto power in international matters. The official language of Andorra is Catalan.

By the late 1930s, nearly every country had its own radio station. Although Andorra could receive French and Spanish broadcasts (mostly music programs), it lacked its own station.


This changed in 1939 when the General Council of the Valleys (Consell General), Andorra’s then-parliament, granted a broadcasting license to Jacques Trémoulet, owner of Radiophonie du Midi. On August 7, 1939, the first signal of Andorra’s first radio station, Ràdio Andorra, went on air.

Ràdio Andorra. An Idea That Returned

Jacques Trémoulet, a journalist and businessman, initially pursued law studies. However, family circumstances forced him to seek new opportunities, which he eagerly embraced. By 1925, he owned Toulouse’s first radio station, the weekly Le Radiogramme, and co-owned Radiophonie du Midi. Over the years, he acquired more small stations, mainly outside France, as the French government was hostile to commercial broadcasting and sought to nationalize the industry.

Although Trémoulet is credited as the founder of Andorra’s station, the groundwork was laid by someone else. In 1935, a broadcasting license was granted to Bonaventura Vila Ribes, the father-in-law of Radio Barcelona owner Stanislas Puiggros. Influenced by Puiggros, Ribes developed a passion for radio and the emerging field of television. On August 19, 1935, he signed a 30-year contract granting him exclusive rights to establish a radio station in Andorra. Construction began, and the Andorran parliament eagerly awaited its completion.

Unfortunately, Ribes passed away in June 1936. His daughter, Dolorès Vila-Puiggros, and son-in-law, Stanislas Puiggros, inherited his obligations, including the Andorran radio license. They honored the contract and formed a partnership with Trémoulet, who was also vying for a license. After securing a new 30-year contract, Ràdio Andorra officially launched in August 1939. Listeners were greeted by a female voice: Aqui Radio Andorra. This bilingual greeting became the station’s signature call sign for many years. The broadcast also featured a speech by France’s Minister of Public Works, Anatole de Monzie.

A European Broadcasting Empire

The station and transmitter were located in Encamp. The station’s general director was Stanislas Puiggros, while Jacques Trémoulet served as radio director, and Lucien Killmayer was responsible for technical operations. Léon Kierzkowski remained the director of La Radiophonie Midi, which, in addition to Ràdio Andorra and earlier stations like Radio Toulouse and Radio Montpellier, expanded to include small stations such as Radio Badalona and even Belgian broadcasters. The group became one of Europe’s most influential radio networks.

The station’s staff consisted of a French-Spanish (Catalan) workforce, and programs were broadcast in three languages: French, Catalan, and Castilian Spanish - thus appeasing its divided neighbors. The schedule consisted of three daily blocks: 8:00-9:00 AM, 12:00-2:00 PM, and 6:00 PM-midnight, featuring exclusively music.

However, before Ràdio Andorra could fully establish itself, World War II broke out. In September 1939, France declared war on Germany. Andorra declared neutrality, but the station suspended operations, as did other French stations owned by Trémoulet and Kierzkowski.

The two businessmen soon resumed broadcasting from most of their stations. Some served German interests, others operated under the Vichy government (for which Trémoulet was later convicted of collaboration and sentenced to death), while others functioned as free voices. Among the latter was Ràdio Andorra, which resumed operations on April 4, 1940.

Mademoiselle Aqui. The Voice That Enchanted

This time, the station aimed for professionalism and expertise. Several employees from French radio stations arrived in Andorra. From Toulouse came Edmond Abouly, an experienced announcer whose task was not only to host programs but also to train younger colleagues.

Shortly after Abouly, 23-year-old Maria Escrihuela arrived from Badalona. Her native language was Catalan, and she hosted and announced programs in it. She often recited her own poetry on air. Alongside the much older Abouly (who was 54), they formed the station’s first on-air duo and co-hosted one of its first music programs, Concierto de los radiooyentes (Listeners’ Concert).


Escrihuela had signed a one-month contract but refused to extend it when the station declined to hire her fiancé as program director. She decided to return to Spain, and her position was taken by Victoria Zorzano, whom many believed was the voice that had greeted listeners on August 7, 1939.

However, like Maria, Victoria only joined in April 1940 and remained in her colleague’s shadow for the first month. It was only when she took over as lead announcer that her talent shone. Her melodic and romantic voice captivated listeners across the station’s broadcast range. Thousands of letters arrived, not only praising her voice but also offering marriage proposals.

Victoria quickly became the star and soul of the station. She was known as Mademoiselle Aqui. As the main voice of the station, she worked alongside Abouly and her sister, Blaza Zorzano. Her voice was heard not only on Listeners’ Concert but also in El quart d’hora de l’oient (Listeners` Quarter Hour) and several other music programs.

She left the station in 1946 and never returned to the airwaves. She passed away in 1998 at the age of 90. Twenty-two years later, in 2020, Andorra’s postal service issued a stamp in her likeness. Over time, the Zorzano sisters were joined by a young talent, Nicole Pannetiers, whose parents were involved with the radio station.

A Balm for a Fractured Continent

The Germans considered Ràdio Andorra a French station, but it was not, which allowed it to avoid being shut down. Nevertheless, its owners took precautions. Kierzkowski officially withdrew from station operations due to his Jewish-Polish origins, which put him at risk. He left France, and only Trémoulet knew his whereabouts, consulting him on key decisions. Meanwhile, Stanislas Puiggros, as a Spaniard, was able to leave peacefully for Barcelona. He resigned as general director in July 1940 but continued running the Spanish branch of Radiophonie du Midi and the advertising division of Ràdio Andorra. He remained a shareholder of the station. His position in Andorra was taken over by Etienne Laffont, previously the station’s general secretary.

As owner and station chief, Jacques Trémoulet decided to limit programming to strictly music, categorized by genre. Fifteen-minute blocks were separated by advertisements, dedications, and national announcements. There was no news about the war, and French-language content was heavily restricted, much to the frustration of the French authorities.

The station’s broadcasts reached nearly all of Europe, and this uninterrupted music marathon was highly popular with listeners. As journalist and Ràdio Andorra enthusiast Gualbert Osorio wrote in his book, Ràdio Andorra: The Story of a Myth That Made History, "Its programs were a balm for a fractured continent. Andorra, a tiny, almost unknown country untouched by the conflicts of the time, became a key player on the radio scene."

During the war, broadcasts aired from 7:30 PM to midnight on shortwave. The programming mainly consisted of dance music, operettas, French songs, and marches. The last 45 minutes featured jazz, film music, regional tunes, and a segment dedicated to young listeners.

They Refused the Germans, the French Condemned Them

Music was the focus, but the station was not entirely innocent. At times, coded messages about British pilots reaching their destinations were transmitted. These messages were embedded in Concierto de los oyentes or Dedicated Songs.

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In 1942, the station’s studios and administrative offices were relocated from Encamp to Andorra la Vella, in a four-story building on Roc de les Anelletes. The new headquarters housed offices, recording studios, announcer spaces, and an extensive music library.

The Germans sought to exert influence over the station, pressuring Trémoulet - who maintained ties with the Vichy government - to include war updates, German advertisements, and even broadcasts for submarine crews. However, he refused.

At the time, numerous newspapers accused Ràdio Andorra of adopting a calculated and highly cautious stance (though this did not break its informational silence). Allegations of collaboration and financial ties to the Germans surfaced. The station’s employees, including announcers, were scrutinized. Even the Americans joined the fray, accusing the Andorran station of having fascist sympathies and advising U.S. citizens not to listen to it.

After France’s liberation, this led to the conviction of directors Trémoulet and Laffont. In November 1946, both were sentenced to death in absentia for alleged collaboration. In February 1945, Trémoulet’s assets in France were confiscated, and he had fled to Spain - taken as further evidence of fascist sympathies. Laffont followed a similar path. Even Puiggros was targeted, accused of irregularities in selling the broadcasting license, while Kierzkowski was charged with collaboration.

Radio War. The Mission to Silence the Station

A member of the Andorran parliament, Antoni Picart, defended the station’s directors and staff, but the French government was determined to shut down Ràdio Andorra. However, since the station was privately owned and not under French jurisdiction, it found support from Andorra’s other ruling head, the Bishop of Seo de Urgel, Iglésias Navarri. Thanks to their intervention, the station survived.

A month later, in December 1946, the death sentences for the station’s directors were overturned by the District Court of Appeals, and the case was forwarded to the Court of Justice. Finally, on April 1, 1949, both men were acquitted in absentia. By then, they had already moved to Spain, where they operated private radio stations.

Despite challenges at the top, the station continued broadcasting. Maurice Perrot took over Laffont’s position, while Trémoulet, from Spain, oversaw Ràdio Andorra through Stanislas Puiggros.

The programming remained unchanged, dominated by various music genres. From 1946, broadcasts aired twice daily:

• 12:00 PM - 3:00 PM: Marches, songs, operetta arias, and popular music
• 7:00 PM - 1:00 AM: Dance music, choral performances, and regional tunes

The evening segment featured Swiss and French music, despite the hostilities those countries had toward the station.

The French government did not give up easily and continued to seek ways to close Ràdio Andorra. This led to the Guerra de les ràdios (Radio War). The French government blocked the bank accounts of Ràdio Andorra’s advertising agency in Paris, confiscated materials sent to Andorra, and, most significantly, jammed the station’s signal.


Despite these difficulties, a 1947 study proved the station’s strength. Ràdio Andorra was the fourth most-listened-to foreign station in France and had twice the audience of the popular Paris Inter station.

More French Content Didn`t Help. Jamming from Bordeaux

That same year, the station signed an agreement with two subsidiaries of Radio Luxembourg, "Les Programs de France" and "Air Production," to broadcast French-produced programs from Paris, including Ploum, ploum, tra-la-la and Pêle-Mêle.

The evening program also introduced new shows featuring French stars, such as Le tire-bouchon and Jean Nohain’s Magazine. Additionally, the station launched its first advertising campaign in French under the slogan Puissance, Popularité, Rendement (Power, Popularity, Performance).

The late 1940s saw a male-dominated workforce. Of the 21 station employees, only four were women:

• Teresa Solano-Castillio, announcer
• Maria Dolores Orobtitg, announcer
• Montserrat Rodriguez, announcer
• Estera Montanya, secretary

All three announcers were Spanish-speaking and had previously worked at a telephone exchange in Seu d’Urgell. The male announcers were more experienced. Levrat, a professional hire from the closed Radio Toulouse, spoke French. Gerardo Esteban, an announcer from Radio Miramar, spoke Spanish. Guy Picart, though only 17 years old, was fluent in Spanish, French, and Catalan.

Many technical staff members came from various French and Spanish stations. Some, like Paul Cousse, known as Papa Cousse, lived at the station with their families, passing down their skills to their children and grandchildren. Marriages were even formed at the station - Ràdio Andorra was, for many years, a family station.

By 1948-1949, tensions with the French government escalated. Then-French President Vincent Auriol, in his role as Andorra’s co-prince, declared: "Ràdio Andorra is a ‘private’ station because it no longer has broadcasting rights since 1948 and does not have a frequency assigned by international conferences. Therefore, in April 1948, we decided to jam its signal, which began in May 1948 from our transmitter in Bordeaux Néac."

The French transmitter was powerful, and the jamming was highly effective. In many areas, Ràdio Andorra went silent, leading advertisers to withdraw their support. Several station employees also left as a result. The station’s owners took the matter to court. After months of legal battles and appeals, on May 24, 1949, the Paris Court of Appeals ruled that the jamming was not only illegal but also unconstitutional, deeming it an ‘attack.’ By summer, the jamming ceased, and border restrictions between France and Andorra were lifted. However, the Guerra de les ràdios continued until the late 1970s.

Legal and Political Battles

Advertising campaigns intensified in both neighboring countries. The Spanish campaigns were elaborate, highlighting the station’s buildings, artists, and programs. In contrast, French newspapers provided limited coverage. By the 1950s, Ràdio Andorra was battered on all sides. The jamming had led to advertiser withdrawals and programming changes, as production companies sought more stable clients.

In 1950, further major changes occurred. In March, an official announcement stated: "All French medium-wave stations are adjusting their frequencies today to comply with the Copenhagen Plan signed in 1949. The Principality of Andorra (not Ràdio Andorra) has been allocated a shared international frequency of 188.2 meters at the end of the dial. This frequency is unacceptable for Ràdio Andorra, which will nonetheless adjust its wavelength."

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Meanwhile, under pressure from the French government, Stanislas Puiggros broke his contract with Trémoulet and Kierzkowski, originally signed in 1940. Plans were made to establish a second commercial station in Andorra, Andorradio, which was to be French-controlled.

Trémoulet fought back.

• The shortwave transmitter continued broadcasting at 50.16 meters (5980 kHz) with 25 kW of power.
• On November 2, 1950, Stanislas Puiggros was removed from all positions at Ràdio Andorra.
• Control of the station was transferred to Trémoulet’s private Spanish radio network, Radio Intercontinental Madrid.
• The Spanish co-prince blocked the creation of the new French-backed station.

As for programming, the station regained stability by producing its own shows. These new broadcasts were quickly embraced by listeners. Besides the usual music segments, new programs included:

• Martini Club – A show featuring popular artists of the time, sponsored by Martini and hosted by Robert Rocc.
• Les jeudis de l’oncle Henry (Uncle Henry’s Thursdays) – A 15-minute children’s program hosted by Paul Servant, featuring clown Maccaro.
• Les Vieux Succès Français (French Old Hits) – A program for senior listeners.
• Le magazine de la ménagère (The Housewife’s Magazine).
• Le Club de l’Oncle Paul (Uncle Paul’s Club) – A youth program.

With the new programming came new hosts and staff. Among them was Paul Servant, often using the pseudonym Jean-Lou Chabrier. He became a major reformer of Ràdio Andorra, elevating it to a new level. In 1955, he became the station’s second artistic director, ushering in what critics later called the golden age of the station. He succeeded Norbert Bros, who had held the position since 1950.

You Want a Radio? No More Sheep!

The 1950s did not start well for Trémoulet and his station. In October 1951, the French government, ignoring all opposition, founded the company Andorradio and sent equipment to Andorra to install a new transmitter. It was to be placed on land owned by Puiggros. Trémoulet initiated legal proceedings against his former collaborator, while the Andorran parliament did everything it could to block the construction. In retaliation, the French government closed the border in 1953, including banning Andorran sheep from grazing on French land. Shepherds were left without work.

This situation lasted throughout June and became known as La guerre des moutons (The War of the Sheep). As a result, the Andorran parliament made three key decisions:

• It officially condemned the Ràdio Andorra license.
• It ordered the station to cease broadcasting.
• It revoked the Andorran passport of Puiggros, who, as a former license holder, was defending Andorradio`s interests.

The station did not comply with these directives. The only change was that, starting June 15, 1953, the evening broadcast was interrupted at 8:00 PM for three hours. The Spanish L`Assemblée Magna (Great Assembly of the People of Andorra) opposed this ruling and overturned the parliament`s decision on June 22. The public supported this move, and the conflict continued until 1958, when the new station Andorradio finally aired its first broadcast.


Despite jamming and reduced reach in France, Ràdio Andorra still reached 3% of the French population. It continued airing its programs in two blocks and produced its own shows. It collaborated with other stations, primarily Radio Luxembourg, and broadcast programs such as La Parade des Succes (sponsored by Martini) and L’inspecteur V, a crime drama. Though music remained dominant, in 1953, for the first time, the station introduced stock market updates, horoscopes, and Tour de France results - just the results, nothing more. The news segment lasted 10 minutes, airing from 8:00 to 9:00 PM.

A Programming Revolution Begins

The following year, a major decision was made to switch to a single, continuous broadcasting block. From July 1954, the station aired from 12:00 PM to 12:00 AM. This change was linked to leadership shifts at the station. Michel Bannel, Jacques Trémoulet’s brother-in-law, founded the advertising agency Publi-Ondes as Ràdio Andorra’s representative. Its directors were Jean Arnaud and Jean Delvigne. These two men initiated a revolution at the station.

They implemented several key changes:

• A "press service" was established.
• A radio industry press campaign was launched.
• Each program was assigned a dedicated host.
• Show creators and producers were no longer anonymous; their names were mentioned.
• Programs were grouped thematically. For example, the Vos nouveautés Mesdames (Your Latest News, Ladies) block included La minute astrologique and La minute culinaire.
• Thematic blocks had set time slots, and language-specific programs had fixed hours (French from 12:00 PM, Spanish from 1:50 PM to 3:00 PM).
• The evening session included short, one-minute segments under the Le Magazine du Soir banner, along with sponsored programs.
• The station opened its studios to visitors in 1955.
• The Club Amigos de Radio Andorra was founded, targeting Spanish listeners, along with a monthly magazine, La Voz de Radio Andorra (first issue: June 20, 1955).

Alongside the standard French programs, Spanish-language content was introduced. These were produced by Xavier Casanovas. The most popular included La Voz de Radio-Andorra, Ecos de España, and La Posada de las Coplas.

In 1955, the duo of the two Jeans (Arnaud and Delvigne) was joined by Paul Servant as artistic director. He took over programming responsibilities. His greatest contribution was launching the station’s first major entertainment show, Le Grand Jeu (The Big Game). It premiered in December 1956, hosted by Pierre Danlou. This weekly half-hour program aired every Sunday at 8:30 PM and featured leading stars of the French entertainment scene.

The following year, Spanish-speaking audiences - specifically women - received their own show, ¡EWA! The program was broadcast live from Barcelona and featured several segments: El Cine en la radio (Film on the Radio), Preguntas indiscretas (Indiscreet Questions), Cartas sin sobre (Letters Without Envelopes), and Nos falta medio refrán (We`re Missing Half a Proverb).

The energetic trio also launched a morning broadcast in January 1958. From 7:00 to 9:00 AM, listeners - mainly women preparing breakfast - could enjoy their favorite songs. On Sundays, the station aired non-stop, starting at 10:00 AM.

Radio Andorra Becomes More Professional

On October 16, the Spanish-language literary program Mi Amigo El Libro debuted. It lasted 20 minutes and aired every Thursday at 10:35 PM. Paul Servant did not live to see this premiere - he lost his battle with cancer on August 2. His death came as a shock to all station employees.

The latter half of the 1950s brought new programs, competition, and stability to Ràdio Andorra. While technical matters had long been under the control of Lucien Killmayer, management and announcer turnover caused some disruptions. Though Trémoulet remained banned from working in France, and by extension in Andorra, he was still the station’s owner. He continued making strategic, financial, and hiring decisions. However, artistic matters required an on-site presence. This led to the creation of the artistic director position in 1950 - a wise move.

Director positions were typically filled by Trémoulet’s relatives or close associates carrying a briefcase full of directives. From 1951, after Maurice Perrot, the station was managed by:

• Pierre Benoit (1951–1953)
• Roger Déléris (1953–1954)
• Georges Dahlqvist (1954–1962)

More attention was given to announcers` linguistic skills, with bilingualism becoming a priority. Female announcers were particularly welcome. One of the station’s rising stars was Lydia Merino, a bilingual talent born in France to Spanish parents. She started her radio career in Barcelona before moving to Andorra in 1954, where she quickly became known as the third Mademoiselle Aqui. The second was Montserrat Rodriguez-Escalona, who worked at the station for four decades, starting at just 17 in 1947. Other prominent voices included Carmen Alonso and Maria Pura Belderrain.

In 1959, the station hired Michel Brard, a lover of operettas, singer, and actor. He took over Paul Servant’s roles - both as an on-air personality and as artistic director.

Despite French competition, jamming, and diplomatic challenges, Ràdio Andorra entered the 1960s as a winner. A 1959 survey showed that 57.2% of all French citizens tuned into this tiny Pyrenean station. A new transmitter was launched, and a new program, Les Rois du Rock’n Roll, thrilled teenagers. Since rock music was still emerging, Andorra’s station quickly gained a young audience.

A New Wave from Africa

The year 1960 brought another revolution in personnel, programming, and technology. In December 1959, Jacques Trémoulet’s station Radio Africa Maghreb in Tangier was shut down. Trémoulet moved all usable equipment and staff to Andorra. Alongside 15 employees, the station acquired a 2.5 kW OC Press Wireless transmitter, OC antennas, low-frequency equipment including tape recorders, mixing consoles, microphones, turntables, and even furniture.

A new position was created: program director. Former Tangier station chief Gilles Marguet took the role, while his brother Jean-Louis became deputy technical director. Juana Tellez was appointed producer and program coordinator, and Arnold Koller became technical director.

The African team included new presenters who introduced fresh energy, style, and a different presentation approach:

• Jean Bonis, known as Le Pape du Yé-yé (The Pope of Yé-yé), was a rock and twist enthusiast who hosted youth programs. He was said to have given the station a facelift.
• Hubert Garric, a jazz connoisseur, hosted Andorre Jazz.
• Marisa Martin, announcer.
• Tony Gomez, presenter.

The team also welcomed former Radio-Atlantic presenter Jacques Lalanne. His duties included conducting interviews, covering exhibitions, and handling commercial news. As a trained graphic designer, he also managed the station’s advertising visuals and created its new logo. Additionally, he became Ràdio Andorra’s official correspondent in Toulouse and launched the magazine Bonjour les amis as a promotional tool to attract young listeners.

New Programming Lineup

With the new team came changes in programming. The French segment gained new shows, including:

• Andorre Sport – Sports news.
• Chez Vous Madame (At Your Home, Madam) – A show for independent women.
• Musique sur quatre roues (Music on Four Wheels) – A program for drivers featuring sports updates.
• Hit Parade – Aired daily at 7:15 PM.

Sports coverage was particularly prominent during the Tour de France, consisting of brief reports interspersed with music. The station still did not air traditional news bulletins.

Spanish-speaking listeners also received new content, with dedicated broadcasts from 2:00 to 4:00 PM and 10:00 PM to midnight.

• Sonría con ritmo (Smile with Rhythm) – Lighthearted discussions paired with contemporary music, aired Wednesdays, Thursdays, and Saturdays at 10:15 PM.
• Antorcha deportiva (Sports Torch) – A Sunday 10:00 PM show focused primarily on soccer.
• Cantan "Los Caporales" (Los Caporales Sing) – A weekly Sunday show featuring a Mexican orchestra.
• Voces que triunfaron (Victorious Voices) – News and anecdotes from Spanish celebrities, airing Monday evenings.

In 1960, another major shift occurred. On November 15, the Andorran parliament (Consell General de les Valls) passed new broadcasting regulations. These established:

"There will be two stations in Andorra, each operating under a separate license. Each radio station will be overseen by one of the two co-princes. The French co-prince will support Andorradio, which will become Radio des Vallées d’Andorre, while the bishop co-prince will support Ràdio Andorra. However, both stations will continue broadcasting in French and Spanish, maintaining linguistic balance on air. Catalan will no longer be used."

The Race for Listeners

On March 29, 1961, a 20-year licensing agreement was signed with SOFIRAD, representing Radio des Vallées (Andorradio), and on April 10, a similar agreement was signed by the newly created Spanish company EIRASA on behalf of Ràdio Andorra. Each party had to agree to specific rights and obligations:

• Establish an operating company in which 25% of shares would belong to the Consell General de les Valls (Andorran Parliament).
• Pay a licensing fee equal to 10% of gross revenue.
• The transmitter power could be increased to 800 kW.
• Ràdio Andorra could broadcast in French and Spanish but was allowed to air news only in Spanish, with no references to France and no news in French.
• Both licensing agreements had to be ratified by the co-princes of Andorra. However, for EIRASA and Jacques Trémoulet, if the co-princes did not explicitly ratify or reject the agreement within three months, it would be considered tacitly approved (Article 15).

Trémoulet deemed these regulations unacceptable and invalid, and they were never implemented. The license was never ratified, and the conflict continued.

The 1960s marked the race for listeners. Both Andorran stations competed fiercely for dominance, primarily targeting young audiences. To stay ahead, Ràdio Andorra eliminated sponsored programs and syndicated content in favor of in-house productions. Announcers were replaced with DJs, and short 15-minute segments were replaced by extended multi-hour sessions.

From 1961, the entire program ran continuously from 7:00 AM to midnight, divided into seven sections:

• 7:00–9:00 AM – Andorre-matin, a music block to start the day (no news).
• 9:00 AM–12:00 PM – A time slot dedicated to women.
• 12:00–2:00 PM – Le Magazine de la Humeur (Good Mood Magazine), including sponsored and thematic programs.
• 2:00–4:00 PM – L’après-midi (Afternoon), featuring Spanish-language programs.
• 6:00 PM – De tout, un peu, pour vous madame (A Bit of Everything for You, Madam), a women`s program.
• 7:00–10:00 PM – A music block with games and entertainment programs.
• 10:00 PM–12:00 AM – The Spanish-language section.

Though still avoiding politics and traditional news, the station introduced a cultural information segment on February 1, 1961, broadcast from Toulouse under the name Toulouse Actités (Toulouse Updates). By summer, it evolved into an audience-driven program called L`Antenne est à vous (The Antenna is Yours).

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A new trend emerged: tourists visiting the studio, bringing their own records, and sending greetings to their loved ones. Another change that quickly gained popularity was live broadcasts dedicated to specific music genres, hosted by specialists:

• Pierre Hiégel explored classical music in L`Album Lyrique.
• Michel Laverdure introduced audiences to jazz in Andorre Jazz.
• Maurice Saint-Paul showcased the musette genre and accordion music.

In 1961, Ràdio Andorra released its first music album, Aqui Radio Andorra. Jean-Pierre Lannes launched celebrity interviews with an interactive segment called Le Jeu de la Variété (The Variety Game), featuring three rounds of five questions each.

Subsequent years brought further innovations and successes:

• A Spanish-language Ràdio Andorra studio opened in Barcelona (October 1962).
• The first live game show, Le Jeu des Étoiles (The Star Game), debuted in 1962.
• Special Blue Jeans, a youth-oriented music program designed for transistor radios, became a sensational hit in 1963.
• Live coverage of the Tour de France stage in Andorra, including related events (1964).
• The first news service was launched in the Spanish-language section (1966).
• The Spanish afternoon section was replaced by a French one (1967).
• Announcers and presenters were gradually replaced by journalists, including Claude Baylet, René Girma, and Jean-Yves Arno (1967).
• Efforts were made to transition to longwave broadcasting (1968).
• The first summer and decentralized broadcasts took place in Canet-Plage (July–August 1969).

New times brought new challenges. A fresh approach to broadcasting was needed, as well as resilience against competition that did not always play fair. However, while successive station directors managed operations from their offices in Barcelona, the real front-line battle in Andorra was shouldered by Gilles Marguet and his team.

A Training Ground for Radio Professionals

Despite his age, Marquet worked tirelessly. In addition to introducing new programming, he actively promoted the station both in neighboring countries and within Andorra itself.

He signed cooperation agreements with two Andorran newspapers, La Dépêche du Midi and Midi Libre, introduced sports broadcasts, and launched advertising campaigns under the slogan Mon préféré: Radio Andorre (My Favorite: Radio Andorra). He also focused on training young presenters. The station could not afford to hire established stars like other broadcasters, but it became a breeding ground for professional presenters. Some stayed for years, like Rosabel Calderer and Jack Olive, while others moved on, and some, like Jacques Malet, became station correspondents (Paris, 1969). Many veteran French and Spanish radio personalities began their careers at Ràdio Andorra.

In 1967, Marquet delegated part of his duties as program director to Jean Bonis, who not only took over some of his responsibilities but also became the artistic director after Michel Brard left in 1968. By the late 1960s, the studio was dominated by French staff (14:3), and the workforce was overwhelmingly male. Out of 17 on-air voices, only two were women, both in the Spanish section.

Due mainly to financial constraints, Ràdio Andorra entered the 1970s struggling against its competitor on all fronts. Its typical listener was between 30 and 60 years old, with 40% from rural areas and 41% from the working class. Meanwhile, the rival station attracted more young people and intellectuals.


Claude Baylet, a journalist, was expected to be the station’s savior when he was appointed program director. However, history took a different turn. In 1970, Marguet left for a regional newspaper, leaving the station in the hands of his brother, who became deputy general director. Several key presenters (Jean-Yves Arno, Jacques Olive) also left, and Jean Bonis` departure left the artistic director position vacant.

Nine new hires joined the team, including Edouard Lopez, who was responsible for sports news, weather reports, and public service announcements.

1.5 Million Listeners and a Battle Against Spanish Censorship

March 5, 1971, was a black day for the station. Jacques Trémoulet, its founder and owner, passed away in Madrid. Dark clouds loomed over Ràdio Andorra, especially as the French government continued its attacks and attempts to shut it down. Several media groups and companies linked to French broadcasting expressed interest in purchasing the station. Monique Comminges, Trémoulet’s daughter and legal heir, entrusted the station’s fate to Jean Delvigne, who had been managing the finances of Trémoulet’s broadcasting empire since 1950. Delvigne proved to be a fierce defender of the station. In 1973, the company Publi-Ondes was renamed Midi-Media. That same year, a detailed survey on Ràdio Andorra revealed that:

• The station had 474,000 regular listeners across France (371,000 in the southern region).
• There were 1,095,000 occasional listeners (638,000 in the southern region).
• In total, 1,569,000 people listened to the station (1,009,000 in the southern region).

That year, Delvigne began negotiations with Andorran authorities regarding the station’s license, set to expire in 1981. He knew this would be a tough battle, and he was right. Marcel Degoya, general director since 1965, moved permanently to Andorra to oversee the station more closely. Meanwhile, the new Bishop of Seu d`Urgell, Joan Martin Alanis, became Andorra’s next co-prince and a staunch defender of the station.

The new management team immediately found itself clashing with Spanish censorship. News aired in the Spanish section had to be written by a priest from the Bishopric of Urgell, while news from the EFE news agency was subject to review by Spanish broadcasting authorities. In 1972, an overzealous censor went too far, modifying the priest’s texts for being "too political," sparking a scandal. Degoya scrambled between bishops and ministers to resolve the issue, but similar incidents occurred again.

Over the next few years, the station faced numerous challenges:

• In 1974, it signed a technical and programming agreement with RTL (formerly Radio Luxembourg) to defend itself against competition and France’s powerful new transmitter.
• That same year, the station was saved from being sold.
• Legal research was commissioned regarding the station’s 1961 license. The original 1937 agreement granted a 60-year license until 1997, and the 1961 license had never been ratified.
• In 1978, amid rising Andorran nationalism, Delvigne proposed that the Andorran parliament take over the station.
• In 1979, the Andorran parliament decided not to renew the licenses of either competing station.

Meanwhile, the station continued to broadcast, introduce new programs, and attract new listeners. The annual Opération Vacances in Canet-Plage, which drew millions of listeners and tourists, was renamed Midi Plages en fête in 1975. New game shows hit the airwaves, including Le Hit est à vous (Your Hit), Mémoire, es-tu là? (Do You Remember?), Disque d`Or (Golden Record), and Message Secret (Secret Message).

To cater to radio enthusiasts, a new international broadcast service, Radio Andorra International, launched on August 28, 1976. It allocated airtime to the Dutch station World Music Radio, which broadcast in English and Dutch. Between 1978 and 1980, Radio Skandinavia also took advantage of this opportunity. These programs were recorded on tape and sent to Andorra for broadcast.

A Station for Polyglots

On September 18, 1979, the Adventist Religious Station ARW signed an agreement with Ràdio Andorra International. Its broadcasts, aired daily from 7:00 PM to 9:00 PM, were available in 12 languages, including Polish, Greek, and Ukrainian. Following ARW’s lead, several other stations also signed agreements, bringing a slight financial improvement to the station.


In 1975, Gilles Marquet returned to the station, taking over Marcel Degoya’s duties as general director. Along with his brother, they also shared the role of managing director. Each had their own specific responsibilities:

• Gilles oversaw program content, presenters, and station administration from Toulouse.
• Jean-Louis managed the technical teams, transmitter operations, and decentralized retransmissions.
• Both were authorized to represent the station in negotiations with Andorran authorities, as well as French or Spanish administrations and partner or competitor companies.

The Marquet brothers teamed up with Jean Delvigne to safeguard the future of the station, which was increasingly at risk of closure due to licensing uncertainties.

Gilles Marquet also had another crucial task: rebuilding the team of presenters. The Spanish section had only two broadcasters: Rosendo Marsol, who spoke Catalan, and Gualbert Osorio, who spoke Spanish. In the French section, there were eight male presenters, two of whom were permanently based in Toulouse, and a single female presenter, Chantal Bali.

A year later, the situation had significantly improved. However, it was evident that once presenters gained some experience, they often left for larger stations, particularly those with their own television studios. There was also a change in the program director position: Claude Baylet was replaced by Alain Tibolla, the host of Pop à la Une (Featured Pop).

Collaboration with RTL

In 1978, Arty Parera took over as program director, arriving from Europe 1. Personnel changes led to improvements in the station’s operations. The agreement with RTL not only strengthened programming cooperation but also modernized equipment and introduced "real" news broadcasts. In 1977, a direct connection was established between the studios in Andorra and RTL in Paris, allowing for the transmission of news bulletins, reports, and telegrams from RTL.

The RTL agreement with Ràdio Andorra clearly states that the material is not funded by EIRASA and, therefore, does not belong to it. Furthermore, broadcasting news in French does not violate the 1961 convention, as that agreement was never ratified and, thus, cannot be enforced. Consequently, no disputes or claims can be directed at Ràdio Andorra.

With the support of RTL, Ràdio Andorra developed its own news service, establishing a network of correspondents and reporters and hiring professional journalists to deliver live news updates. The correspondents included:

• Jean-Jacques Debezy and Robert Marcet in Toulouse
• Jacques Pelletier and Claude Ferran in Albi
• Jean-Pierre Alaux in Cahors
• Presenters included Pierre Marie Bernoux, Catherine Lauren, and Christian Guillard.

That same year, the station introduced a new logo and launched several popular new programs, including:

• Contact, an interview show featuring celebrities, hosted by Arty Parera
• Radio Verte, an environmental program hosted by journalist Catherine Laurens
• Le Magazine du Pays Basque, a show covering Basque Country news, produced by René Hervé
• Discotissimo, a disco music program with DJ Yannick Chevalier

Despite these changes and improvements, the station’s future remained uncertain. On September 12, 1979, the General Council of Andorra decided to establish its own national broadcasting service and not renew the licenses of either of the two rival stations. Both Ràdio Andorra and its competitor received official notices of the decision.


Jean Delvigne proposed that Andorrans take over Ràdio Andorra, but they refused. Tired of interference from both France and Spain, they sought independence from both nations. The Spanish government also opposed the idea and demanded that Delvigne hand over the station`s assets, to which he responded that such a request was irrelevant.

Tensions flared between SOFIRAD, the General Council, Ràdio Andorra, and EIRASA. In this uncertain atmosphere, the station marked its 40th anniversary. Despite the challenges, the station aired retrospective programs, and special guest Victoria Zarzano was honored. Once again, the station updated its logo.

Silence on the Airwaves. Ràdio Andorra Surrenders

The year 1980 was marked by inventories, petitions, and protests. The station`s management and board sent letters and appeals to all possible higher authorities, requesting an extension of the station`s license. Ràdio Andorra had never succumbed to the French government or German aggression, and it had been heard across almost all of Europe and even beyond the ocean. However, these efforts were in vain.

On the air, no mention was made of the station’s troubles or the possibility of closure. The staff continued their work as usual. The news segment was expanded, new programs such as L’Actualité au Féminin (News for Women) were introduced, and the games and quiz section Mer et Montage launched new shows. New presenters also joined the team, including Corinne, Benoit Laurent, and Pierre Alexis.

In January 1981, for the last time, Ràdio Andorra’s management proposed that the Andorran government take over the station. On January 10, the parliament held a vote: the result was 14 in favor and 14 against. In such cases, the final decision rested with the syndic, who cast a decisive "NO."

The new Bishop of Urgell, EIRASA, and the Spanish government, unable to gain control over the station, turned their backs on the situation. To make matters worse, each party began claiming what it believed to be rightfully theirs. The bishopric stopped accepting payments, the government froze the station’s bank accounts, and on March 23, at 8:30 PM, a Spanish administrator arrived at the station, demanding that the employees sign a document recognizing his exclusive authority over the station. All of them refused. Ràdio Andorra was left to fend for itself.

On April 2, 1981, the broadcast began as usual at 6:00 AM with music and news presented by Benoit Laurent. Until 9:30 PM, everything followed the regular schedule. After the final sounds of Le Magazine des Vallées D’Andorre, station director Gilles Marquet took to the microphone to inform listeners of the situation and announce the station’s closure. He expressed gratitude and farewells on behalf of the entire team. Then, the Andorran national anthem played, and the station fell silent.

Andorra Remembers

Listeners were shocked and outraged. They began writing letters and petitions, and a committee to defend the radio station was even formed. Since Sud Radio (formerly Andorradio) was still broadcasting, Jean Delvigne ordered Ràdio Andorra to resume transmissions. On the afternoon of April 8, the familiar greeting Aqui Radio Andorra was heard again. Unfortunately, the following day at 7:00 PM, the police stormed the studio, and by 8:50 PM, only static and noise filled the airwaves once more. On April 10, all of the station’s facilities were handed over to the Andorran authorities.

For the next eight months, 38 employees remained at their posts, hoping that the station would return to the air. The fight for Ràdio Andorra continued for another three years. In 1984, a glimmer of hope emerged, but it quickly faded. Though the radio had gone silent, the issue remained: What should be done with the buildings, studios, and transmitter? Trémoulet’s heirs claimed ownership, EIRASA insisted it belonged to them, and the Spanish government argued that it was part of their national heritage - yet none of these parties could reach an agreement with Andorran authorities.

In 1991, a fire destroyed the Roc des Analletes studio, which had produced programs heard across Europe for over four decades. It wasn’t until 2008 that the Encamp transmitter and its building officially became the property of the Principality of Andorra. The following year, on February 5, 2009, the foreign ministers of Andorra and Spain signed an agreement resolving the 28-year dispute over Ràdio Andorra’s legacy. Along with the transmitter and station building, the Principality of Andorra took possession of a collection of 35,000 vinyl records, 200,000 recordings, and all of the station’s documents.

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In 2011, the building was renovated, and in 2013, a project was launched to establish a radio museum in Encamp. The inauguration was planned for 2016 but did not materialize. A second attempt was set for 2019, marking the station’s 80th anniversary, but the discovery of asbestos in the transmitter and the COVID-19 pandemic disrupted these plans. The museum exists, but it remains closed to visitors. However, access to all printed and audio archives is available online at https://www.aquiradioandorra.com/index.html.

Though this ill-fated radio station has fallen silent, its legend lives on - not just high in the Pyrenees, but across all of Europe. Andorra still remembers.

Timeline of Ràdio Andorra:

• 1935, August 15 - Bonaventura Vila Ribes receives a license to establish a radio station in Andorra.
• 1936 - Jacques Trémoulet takes over the broadcasting license.
• 1939, August 7 - Inaugural broadcast of Ràdio Andorra.
• 1939, August 28 - 1940, April 3 - Broadcast suspension due to the outbreak of World War II.
• 1940 - Jacques Trémoulet becomes the sole owner of the station.
• 1942 - The station moves to a new headquarters in the capital.
• 1946 - Programs are divided into two broadcasting blocks.
• 1950 - First self-produced programs.
• 1953, June - "Sheep War" between Andorra and France.
• 1953, June 15-22 - Temporary suspension of evening broadcasts (8:00 PM - 11:00 PM).
• 1954, July 1 - Establishment of Ràdio Andorra’s advertising agency, Publi-Ondes.
• 1954, July - Introduction of a single broadcasting block (12:00 PM - 12:00 AM).
• 1955 - Studios open to visitors.
• 1955, June - Creation of the Spanish Friends of Ràdio Andorra Club and the monthly magazine “La Voz de Radio Andorra.”
• 1958, January - Morning broadcasts begin.
• 1960 - Major station changes and a new logo.
• 1961 - Broadcasting hours extended from 7:00 AM to 12:00 AM.
• 1961 - First Ràdio Andorra music album released.
• 1961, February 1 - First cultural news segment.
• 1961, March 28 - Establishment of ERISA, Ràdio Andorra’s official Spanish representative.
• 1966 - First news service (Spanish section).
• 1967 - Professional journalists join the station.
• 1974 - Attempt to sell the station.
• 1975 - Launch of Ràdio Andorra International.
• 1977 - First full-fledged news service.
• 1979, August - 40th anniversary celebrations.
• 1979, September 12 - Andorran parliament decides not to renew broadcasting licenses.
• 1981, April 2 - Final broadcast of Ràdio Andorra.
• 1981, April 8 - Attempt to resume broadcasts, leading to police intervention the next day.
• 1981, April 10 - Station transferred to Andorran authorities, silencing Ràdio Andorra forever.

Sources:

• https://podroztrwa.pl/andora-ciekawostki/
• https://ca.wikipedia.org/wiki/Ràdio_i_Televisió_d%27Andorra
• https://www.aquiradioandorra.com/tremoulet_jacques.html
• https://www.andorradifusio.ad/
• http://f5nsl.free.fr/andorre/histoireg.html
• https://www.aquiradioandorra.com/vila-ribes_bonaventura.html
• https://www.creditandorragroup.com/sites/default/files/pdf/Radio%20Andorra_revisat%20gener%202014_.pdf
• http://guiadelaradio.com/correos-de-andorra-dedica-un-sello-a-victoria-zorzano-locutora-de-radio-andorra
• https://www.radiotsf.fr/pendant-la-guerre-radio-andorre/
• http://diposit.ub.edu/dspace/bitstream/2445/42617/1/01.EGQ_1de10.pdf
• https://www.creditandorragroup.com/sites/default/files/pdf/Radio%20Andorra_revisat%20gener%202014_.pdf
• https://www.aquiradioandorra.com/biographies.html
• https://www.aquiradioandorra.com/chronologie_par_decennies.html
• https://www.bondia.ad/cultura/radio-andorra-cada-primer-dissabte-de-mes
• https://www.elperiodic.ad/noticia/33729/radio-andorra-nqui-testima
• https://www.govern.ad/cultura/item/3522-avui-se-celebra-per-primera-vegada-el-dia-mundial-de-la-r%C3%A0dio
• http://diposit.ub.edu/dspace/bitstream/2445/42617/1/01.EGQ_1de10.pdf