V0136. MIGUEL FLETA: ZARZUELA ARIAS, incl. El Huesped Del Sevillano, Tata Nacho, El Caserio, La Dolores, Marina, etc.; Songs by Colon, Castadena, del Castillo, Villa, Pérez, Carrión & de Lisle (the latter's ‘La Marseillaise’, in Spanish). (Austria) Preiser 89093, recorded 1927-31. Very long out-of-print, Final Copy! - 717281890939
"The earliest items on this CD are the pair of arias from Guerrero's EL HUÉSPED DEL SEVILLANO, recorded in 1927, the year after the zarzuela's premiere, and also the year following Fleta's most famous performance - when he created the role of Calaf in Puccini's TURANDOT....[also included is] a version of LA MARSEILLAISE, in Spanish, which must surely be a candidate for some buff's quiz game."
- Patrick O'Connor, INTERNATIONAL CLASSIC RECORD COLLECTOR, May, 1995
“Fleta was one of the reigning tenors after Caruso, famous for his vocal virility and passion, a recording superstar, creator of the role of Calaf in Puccini's TURANDOT, and a figure almost as dramatic in his personal life as on the opera stage. Like his compatriots Alfredo Kraus, Giacomo Aragall, Luis Lima, and Plácido Domingo, he made a point of performing and recording zarzuela music, contributing to its continued popularity in the non-Hispanic countries. His command of dynamics was remarkable, with an exceptionally fine diminuendo, though he was often accused of over-using this effect, and his high notes had a powerful ring, though again he was accused of drawing attention to them.
Fleta made his opera début as Paolo in a production of Zandonai's FRANCESCA DA RIMINI in 1919 at the Teatro Comunale in Trieste. He was given other roles, and soon appeared at the major theaters in Europe. In 1922, Zandonai engaged him to create Romeo in the world premiere of his GIULIETTA E ROMEO. In the same year, Fleta began a series of performances in Mexico and Central and South America, and also made his famous recording of Osman Perez Freire’s ‘Ay, ay, ay’, which sold more than 100,000 copies, incredible sales for that time. He made his Metropolitan Opera début the following year. His La Scala début was in 1924, as the Duke in RIGOLETTO. He was scheduled to sing at the Met for the next two seasons, but decided to sign with the Teatro Apolo in Madrid instead. The Met's general manager, Gatti-Casazza successfully sued Fleta for breach of contract. In 1926, Fleta returned to La Scala to appear in the world premiere of Puccini's TURANDOT, specifically chosen by Toscanini to sing Calaf.”
- Anne Feeney, allmusic.com