Montsalvatge conceived Puss in Boots in 1947 as a piece in five pictures, for five voices (mezzo-soprano, soprano, tenor, baritone and bass). Although the libretto is based on Charles Perrault’s story Le chat botté, included in the collection Les contes de ma mère l'Oye (1697) and the scenes are colourful and humorous, very appropriate for children, the author of Cinco Canciones Negras made no concessions. Indeed, the score fully reflects the skills of a maturing composer: the score, while traditional in format, is a compendium of refinement, harmony and beauty, full of ironic touches and fantastical imagery.

In Montsalvatge’s own words: “My friend Mir suggested the subject, and Néstor Luján agreed to write the libretto. We wanted to create a magical show in one act and several scenes, half opera buffa, half ballet […] in the style of an 18th century opera, with functional recitative, arias and choreographed episodes… [we wanted] a happy ending and the obligatory final parade of all the characters: the cat, the miller, the princess, the ogre and the king.”