From 1920 Alonso writes most of his best lyrical works.
Alonso plans to create a large lyric mosaic of all the Spanish regions to which La Linda tapada (1924) belongs, set in the seventeenth century Salamanca and from which the “Song of the gypsy” became popular; La Bejarana, (1924), also from Salamanca, whose “Pasodoble de los quintos” immediately jumped into the cafes and picnic areas; Curro el de Lora (1925), of Andalusian argument, written by Luis Fernandez Ardavín, and that will not have the awaited success, in spite of its excellent music. Alonso will repeat again and again that it is his best work and his desire to turn it into an opera.
The great Spanish lyric painting is completed by La Calesera (1925), with a Madrid ambience that bewitch the spectators of the Teatro de la Zarzuela, with the “pasodoble de los chisperos” and the “anthem to freedom”; de La Parranda, (1927) dedicated to Murcia, they applaud the “Song of the silversmith”, above all, the “Canto a Murcia”, which becomes an authentic anthem of the region, and La picarona (1931), which depicts Segovia, the vibrant “Canto a Segovia” stands out.
At the same time as great zarzuelas, Francisco Alonso composes excellent sainetes and revues, thus showing his versatility and ability to work. In Las Castigadoras (1927), premiered at the Eslava Theater, the “Chotis de las taquimecas” draws attention; in Las Cariñosas, (1928), another chotis, that of “La Lola”, hits the mark of success.
But it is at the Pavón Theater and in 1931 that Alonso premiered the greatest revues of all time: Las Leandras, which contains nothing less than the “Pasodoble de los nardos”, and the chotis of “El Pichi”, unsurpassed creations of the great vedette Celia Gámez, for who they were written.
Until the beginning of the Civil War Alonso will continue premiered works discovered: Las de Villadiego, Las de los ojos en blanco -which includes the famous pasodoble “Horchatera valenciana” -, Mujeres de fuego … and zarzuelas as Me llaman la presumida.