MIGUEL FLETA THE COMPLETE RECORDINGS 5 CDR

Description: Normal 0 false false false RU X-NONE X-NONE MIGUEL BURRO FLETA (28 DECEMBER 1897, ALBALATE DE CINCA, HUESCA PROVINCE, ARAGON, SPAIN - 29 MAY 1938, A CORUÑA) The short, but brilliant career of the Spanish tenor Miguel Fleta lasted for sixteen years, from his debut in Trieste 1919 until his retirement in 1935. He died three years later at the age of 41 only. With his death, his name escalated to the world of legends and those who cherished him spoke of the greatest tenor ever. Miguel Burró Fleta was born in Albalate de Cinca, Huesca, on the 1st of December 1897. At the age of 11 he began the study of solfeggio while working in the local agriculture industry, then later on with his sisters in the Zaragoza district. It was in Zaragoza in 1917, at the age of 20, he first appeared on stage, participating in the Jota-festival of Villanueva de Gállego, decisive for his entry into a singing competition in the city of Zaragoza the same year. He was not premiered but received certain recognition from the jury who admitted his voice qualities were superior to the other contestants. Late 1917 he moved to Barcelona, where he stayed with his brother who managed to gain an audition with the Director of the Music Conservatory of the Liceu (Isabel II), but his application was declined as there were no vacancies in the male classes. However, Fleta had been overheard by the reputed vocal pedagogue Luisa Pierrick, who taught at the conservatory and with a substantial career as a singer behind her. Pierrick considered the potential of Miguel Fleta to be of such an extent that she admitted him into her own classes, which were confined to female voices. Pierrick had good faith in the young Fleta and set out to improve his cultural level, while having him undergo intensive studies of both Italian and French, apart from the studying of solfeggio and vocal training. During the course of 1919 he completed his studies at the Conservatory and started preparing for a professional stage debut. He rehearsed a handful of operatic roles with Pierrick before moving to Milano with her in September upon her insistence (they had fallen in love, and Pierrick had subsequently left her husband for Fleta). By October they had achieved a contract with the opera house of Trieste, after having been introduced to the composer Riccardo Zandonai who was preparing a series of performances of his opera Francesca da Rimini. Fleta made thus his professional operatic debut on the 14th of December at the Teatro Comunale in Trieste in Zandonai’s Francesca da Rimini. He was 22. Critics were slightly cool after his debut, but his appearance in Aida in Trieste in January 1920 (in all 13 sessions) completely won the critics over and engagements followed in quick succession. In April he found himself in Wien for Mefistofele, Tosca, Pagliacci and Carmen, and continued to Budapest, Praha and Warzawa, before returning to Wien in October where he met Puccini and starred in the local premiere of the composer’s La Rondine. He opened 1921 with two performances of Aida in Monte Carlo and then returned to Italy where he sang in Livorno, Palermo, Napoli, Roma and Bologna, all sessions highly successful. At the Fenice of Venecia he created sensation with his Rigoletto and Carmen, and it has been reported that he was appladed during 20 minutes after his appearance, bringing him onto the stage 16 times after curtain fall. In January 1922 he reappeared in Zandonai’s Francisca da Rimini at the Teatro Costanzi in Roma and Zandonai chose him to to create the role of Romeo for his new opera Giulietta e Romeo, where the conductor himself conducted the premiere at the Costanzi 14 February 1922. Fleta was now, shortly after his debut, a fairly reputed and loved tenor and he was invited to Milano for a recording session for Gramophone in April the same year.4 He parted for his native country, Spain, a month prior to the Milano sessions for his debut at the Teatro Real in Madrid. His success as Don José in Carmen was clamorous and triggered a rise of nationalism, españolismo, which was to extend throughout all the Hispanic countries in South- and Latin America. Further appearances in Madrid included Tosca, La Boheme and Aida. Fleta returned to Italy for appearances in Genova in Milano before departing for South America. He had been invited to sing at the Teatro Colón of Buenos Aires and debuted on the 24th of July in Cavalleria Rusticana, followed by the world premiere of Flor de Nieve by the local composer Constantino Gaito on 3 August 1922, as well as the local premiere of Zandonai’s Giulietta e Romeo. Further appearances followed in Córdoba, Rosario, Montevideo (Uruguay), and Sao Paolo (Brazil). In Rio de Janeiro he appeared in Il Guarany by the local composer Carlos Gomes. The South American successes continued. In Mexico he sang Bréton’s La Dolores staged inside the bullring El Coso de la Condesa to thousands of spectators, for which he received the incredible amount of 50.000 pesos gold. South America was living the segregation between the “Fletistas,” the supporters of Fleta, as opposed to the “Lazaristas,” the supporters of Lázaro, and Fleta, now almost deified by the South American audience, was heavily threatening Lázaro’s position as the most popular tenor on the pacific continent. Fleta did further successful appearances throughout Cuba January 1923, before returning to Madrid and London, where he once more recorded for Gramophone in March. June had him returning to Argentina and the Colón of Buenos Aires where he was hired for Manon, I Compagnacci by Riccitelli and la Sonnambula in July. He kept appearing in Argentina, Uruguay and Brazil throughout August and September, but was called to New York for the month of October. Critics were slightly cool after his debut, but his appearance in Aida in Trieste in January 1920 (in all 13 sessions) completely won the critics over and engagements followed in quick succession. In April he found himself in Wien for Mefistofele, Tosca, Pagliacci and Carmen, and continued to Budapest, Praha and Warzawa, before returning to Wien in October where he met Puccini and starred in the local premiere of the composer’s La Rondine. He opened 1921 with two performances of Aida in Monte Carlo and then returned to Italy where he sang in Livorno, Palermo, Napoli, Roma and Bologna, all sessions highly successful. At the Fenice of Venecia he created sensation with his Rigoletto and Carmen, and it has been reported that he was applauded during 20 minutes after his appearance, bringing him onto the stage 16 times after curtain fall. In January 1922 he reappeared in Zandonai’s Francisca da Rimini at the Teatro Costanzi in Roma and Zandonai chose him to to create the role of Romeo for his new opera Giulietta e Romeo, where the conductor himself conducted the premiere at the Costanzi 14 February 1922. Fleta was now, shortly after his debut, a fairly reputed and loved tenor and he was invited to Milano for a recording session for Gramophone in April the same year.4 He parted for his native country, Spain, a month prior to the Milano sessions for his debut at the Teatro Real in Madrid. His success as Don José in Carmen was clamorous and triggered a rise of nationalism, españolismo, which was to extend throughout all the Hispanic countries in South- and Latin America. Further appearances in Madrid included Tosca, La Boheme and Aida. Fleta returned to Italy for appearances in Genova in Milano before departing for South America. He had been invited to sing at the Teatro Colón of Buenos Aires and debuted on the 24th of July in Cavalleria Rusticana, followed by the world premiere of Flor de Nieve by the local composer Constantino Gaito on 3 August 1922, as well as the local premiere of Zandonai’s Giulietta e Romeo. Further appearances followed in Córdoba, Rosario, Montevideo (Uruguay), and Sao Paolo (Brazil). In Rio de Janeiro he appeared in Il Guarany by the local composer Carlos Gomes. The South American successes continued. In Mexico he sang Bréton’s La Dolores staged inside the bullring El Coso de la Condesa to thousands of spectators, for which he received the incredible amount of 50.000 pesos gold. South America was living the segregation between the “Fletistas,” the supporters of Fleta, as opposed to the “Lazaristas,” the supporters of Lázaro, and Fleta, now almost deified by the South American audience, was heavily threatening Lázaro’s position as the most popular tenor on the pacific continent. Fleta did further successful appearances throughout Cuba January 1923, before returning to Madrid and London, where he once more recorded for Gramophone in March. June had him returning to Argentina and the Colón of Buenos Aires where he was hired for Manon, I Compagnacci by Riccitelli and la Sonnambula in July. He kept appearing in Argentina, Uruguay and Brazil throughout August and September, but was called to New York for the month of October. Curiously enough, he had yet not appeared at the Liceu in Barcelona, and expectations were high as the Liceu proclaimed that Fleta would sing in Carmen during the month of October (1926). He debuted on November 5th 1926, it was the first time ever in Spain an opera performance was transmitted live by radio, and all other theaters of the city of Barcelona interrupted their sessions in order to connect with the Liceu for Fleta’s Aria di Fiore. The success was clamorous and repeated itself at Fleta’s debut in Wagner’s Lohengrin at the Liceu on December 14 1926. At the moment of the famous Racconto in the third act, the audience burst into a clamorous frenzy and begged the aria to be encored, somewhat unusual in the history of that opera. In May 1927 he remarries after a short separation from Luisa Pierrick, and travels to Argentina with his new wife, Carmen Mirat, where he combines his honeymoon with the fourth tour of America, with appearances in Buenos Aires, Montevideo, Rio and New York. He tends to cater for the Zarzuela repertory more and more. Fleta inaugurated 1928 with an European tour. Although being tired and with slight vocal problems, he undertook to appear in Wien, Budapest, Praha, Roma and Paris, ending with a severe faringiitis and general fatigue. The lawsuit with the Met came to an end and Fleta rejected further engagements due to his condition, and by the end of the year he was forced to undergo vocal therapy in order to recuperate. Despite his ill-fated program in the preceding years, he could not resist a lucrative offer from Casa Daniel in Madrid to tour the Far East and the American continent, and eventually set out on an extremely taxing experience in 1929 which covered Japan, China, Mexico, Guatemala, Cuba, Puerto Rico and Canada, followed by a tour of Central Europe by the beginning of 1930. Overworked and tired, the remainder of 1930 only brought sporadic appearances. A growing political engagement had him appearing in events of political propaganda for the Republic of Spain, who’s official policy allegedly had promised a wide cultural support for music and music education in Spain, securing Fleta’s open affiliation with and support for the government. In 1932 he yet again undertook a tour which this time included the Scandinavian countries, Greece and Italy, plus separate appearances in Portugal in Tosca and Rigoletto. Casa Daniel then had him touring Spain. It seems Fleta’s career evolved in parallel with that of his grand rival, Hipolito Lazaro. Like Lazaro, he appeared more and more in Zarzuela roles and during 1933 he embarked on a national tour singing Zarzuelas with particular success in Doña Franciscita. Word had it that Fleta still suffered from vocal problems, explaining why, like Lazaro, he engaged in Zarzuela and neglected the operatic repertory. Some sporadic opera roles followed in 1934, with performances of Carmen in Cannes and Nice, and further apperances in Amberes, Bruxelles, Munchen and Cairo, before he yet again toured Spain with the Zarzuela repertory in 1935, this time with Maestro Moreno Torroba and his company. His repertory consisted of Marina, La Dolorosa, Doña Franciscita and Luis Fernanda. Every now and then he also performed in Carmen, which had become his operatic hallmark in Spain. In 1936 he participated in the premiere of the opera Christus by the local composer Alvarez Garcia at the Calderon in Madrid and was appointed professor of singing at the conservatory in Madrid just before the outburst of the Spanish Civil War. Having been let down by the Rebulicans in their failing and negligent support for the music education in Spain, Fleta had abandoned his political support for the Republic and joined the fascist oriented Falange, which forced the Fletas to flee from their home in Albalate to Salamanca and La Coruña with the onset of the war. Fleta himself enrolled as a chofer at the air base in Salamanca while giving occasional recitals for the Social Aid in several Spanish cities from 1936 to 1938. He gave his last complete opera performance in Portugal, at the Coliseo dos Recreios in Lisboa on 27 April 1937, where he sang Carmen. In May the following year he fell ill with what seemed to be an acute renal infection, but he died of Uremia on the 29th of May 1938 in his home in La Coruña. The burial took place the day after in La Coruña. With his death, his name escalated to the world of legends and those who cherished him spoke of the greatest tenor ever. By Jørn Anthonisen TRACKLIST 1. Trust de los Tenorios (Serrano) Te quiero, morena (Jota) 7-62034 BE388 HMV, Milano 1922-04-14 2. Tosca (Puccini) E lucevan le stelle 7-52206 BE389 HMV, Milano 1922-04-14 3. Ay, ay, ay (Perez Freire) 2-062009 CE391 HMV, Milano 1922-04-17 4. Carmen (Bizet) Il fior 2-052216 CE392 HMV, Milano 1922-04-17 5. Giulietta e Romeo (Zandonai) Giulietta, son io! 2-052215 CE393 HMV, Milano 1922-04-17 6. Puritani (Bellini) A te o cara 7-52236 Bb2843 HMV, London 1923-04-17 7. Rigoletto (Verdi) La donna e mobile 7-52237 Bb2844 HMV, London 1923-04-17 8. Aida (Verdi) Presago il core (w. Austral & chorus) 2-054131 Cc2847 HMV, London 1923-04-17 9. Aida (Verdi) O terra addio (w. Austral, Thornton & chorus) 2-054132 Cc2848 HMV, London 1923-04-18 10. Dolores (Breton) Henchido de amor santo 2-062011 Cc2858 HMV, London 1923-04-19 11. Tosca (Puccini) Amaro sol per te (w. Austral) 2-054133 Cc2860 HMV, London 1923-04-19 12. La calle major de Jaca - Ya no la rondan chavales (Jota) DA598 BS1247 HMV, Madrid 1924-04-05 13. Si fuera un aeroplano (Jota); Manica si te dejaras (Jota) DA598 BS1248 HMV, Madrid 1924-04-05 14. La fematera (Jota); La virgen (Jota) DA599 BS1249 HMV, Madrid 1924-04-05 15. Dolores (Breton) Aragon, la mas famosa (Jota) DA599 BS1250 HMV, Madrid 1924-04-05 16. Tosca (Puccini) E lucevan le stelle 950 B29265 Victor, New York 1924-01-14 17. Rigoletto (Verdi) La donna e mobile 948 B29266 Victor, New York 1924-01-14 18. Adios, triguena (Vigil y Robles) 66230 B29267 Victor, New York 1924-01-09 19. Mi tierra - Al dejarte tierra amada (Mediavilla) 66229 B29284 Victor, New York 1924-01-14 20. Amico Fritz (Mascagni) Tutto tace (w. Bori) HRS1039 C29285 Victor, New York 1924-01-14 21. Carmen (Bizet) Parle-moi de ma mere (w. Bori) HRS1039 C29286 Victor, New York 1924-01-14 22. Amapola - De amor en los hierros de tu reja (Lacalle) 1073 B31577 Victor, New York 1925-01-06 23. Bimba non t'avvicinar (Bettinelli) 1073 B31578 Victor, New York 1925-01-06 24. El Duo de la Africana (Caballero) Africana, gitana, nacida muy cerca (w. Badia) DB874 CS1673 HMV, Madrid 1925-04-15 25. Los Gavilanes (Guerrero) Flor Roja DB850 CS1674 HMV, Madrid 1925-04-15 26. Dona Francisquita (Vives) Por el humo se sabe... Mujer fatal DB850 CS1675 HMV, Madrid 1925-04-16 27. Emigrantes (Barrera) Adios, Granada mia DB874 CS2014 HMV, Madrid 1925-09-19 28. Dona Francisquita (Vives) Escuchame! No puedo escucharte (w. Salagaray) DB878 CS2023 HMV, Madrid 1925-09-20 29. Dona Francisquita (Vives) No! Escuchame bien (w. Salagaray) DB878 CS2024 HMV, Madrid 1925-09-20 30. La Linda Tapada (Alonso) En la carcel de Villa DB879 CS2027 HMV, Madrid 1925-09-22 31. A Otras Playas (Anglada) De las playas, malaguena DB879 CS2028 HMV, Madrid 1925-09-22 32. La Calesera (Alonso) Agua que rio abajo DB918 CS2281 HMV, Madrid 1926-02-22 33. El Guitarrico (Soriano) Suena guitarrico mio DB919 CS2282 HMV, Madrid 1926-02-22 34. Te quiero (Mujercita yo estoy preso) (Camprubi) DB918 CS2287 HMV, Madrid 1926-02-24 35. Mi vieja (Quiero volver a mi patria) (Guerrero) DB920 CS2288 HMV, Madrid 1926-02-25 36. Los de Aragon (Serrano) Cuantas veces solo... Los de Aragon DB920 CS2289 HMV, Madrid 1926-02-25 37. Sangre de Reyes (Luna-Balaguer) Adios para siempre DB919 CS2290 HMV, Madrid 1926-03-01 (ac) 38. Lohengrin (Wagner) Da voi lontano DB976 (2-052316) HMV, Barcelona 1926-11-13 39. Lohengrin (Wagner) Cigno gentil DB976 (2-052317) HMV, Barcelona 1926-11-12 40. Favorita (Donizetti) Spirto gentil DB986 (2-052320) HMV, Barcelona 1926-11-15 41. Manon (Massenet) O dolce incanto... Chiudo gli occhi DB986 (2-052319) HMV, Barcelona 1926-11-15 42. Boheme (Puccini) Che gelida manina DB1034 (2-052326) HMV, Madrid 1927-02-15 43. Pecheurs de perles (Bizet) Mi par d'udir ancora DB1071 (2-052343) HMV, Madrid 1927-02-15 44. Aida (Verdi) Se quel guerrier... Celeste Aida DB1053 (2-052334) HMV, Madrid 1927-03-07 45. El Caserio (Guridi) Yo no se que veo en Ana Mari DB1024 CJ591 HMV, Madrid 1927-03-07 46. El Huesped del Sevillano (Guerrero) Fiel espada triunfadora DA868 BJ593 HMV, Madrid 1927-03-08 47. El Huesped del Sevillano (Guerrero) Mujer de los negros ojos DA868 BJ594 HMV, Madrid 1927-03-08 48. Favorita (Donizetti) Una vergine DB1053 (2-052328) HMV, Madrid 1927-03-09 49. Pagliacci (Leoncavallo) Recitar... Vesti la giubba DB1034 (2-052327) HMV, Madrid 1927-03-09 50. Marina (Arrieta) Costas las de Levante (w. chorus) DA867 BJ606 HMV, Madrid 1927-03-12 51. La Corte del Amor (Padilla) Princesita DB1024 CJ607 HMV, Madrid 1927-03-12 52. Africaine (Meyerbeer) Mi batte il cor... O Paradiso DB1071 (2-052344) HMV, Madrid 1927-03-12 53. Nostalgia Andaluza (Triste toque de oracion) (Martinez) DB1025 CJ616 HMV, Madrid 1927-03-16 54. Marina (Arrieta) Pasqual, amigos mios... Al ver en la immensa llanura DA867 BJ617 HMV, Madrid 1927-03-17 55. De mi Aragon (Un mundo de emociones en mi pecho) (Forns) DB1025 CJ618 56. Marina (Arrieta) Se fue la ingrata... Feliz morada (w. Sagi-Barba) DB1026 CJ619 HMV, Madrid 1927-03-17 57. Marina (Arrieta) A beber (Brindis) (w. Sagi-Barba) DB1026 CJ620 HMV, Madrid 1927-03-17 58. Marina (Arrieta) No sabes tu que yo tenia (w. Revenga & Sagi-Barba) DB1170 CJ1234-2T1 HMV, Madrid 1928-02-15 59. Marina (Arrieta) Tu que lo sabes... En las alas del deseo (w. Revenga & Sagi-Barba) DB1170 CJ1235-2T1 HMV, Madrid 1928-02-16 60. Marina (Arrieta) Por Dios tu pena cese... Marina yo parto (w. Revenga) DB1171 CJ1236-2T1 HMV, Madrid 1928-02-17 61. Marina (Arrieta) Seca tus lagrimas (w. Revenga, Sagi-Barba & del Pozo) DB1155 CJ1238-2T1 HMV, Madrid 1928-02-17 62. Marina (Arrieta) Serena tu rostro (w. Revenga, Sagi-Barba & del Pozo) DB1155 CJ1239-2T1 HMV, Madrid 1928-02-17 63. La Borrachita (Danza Criolla) (Esperon) DB1171 CJ1245-2T1 HMV, Madrid 1928-02-18 64. Granadinas (Las fatigas del querer) (NinI) DA1037 BJ1921 HMV, Madrid 1929-02-16 65. Berceuse (Gretchaninov) DA1037 BJ1922 HMV, Madrid 1929-02-16 66. Nebbie (Respighi) (It) DA1038 BJ2032 HMV, Madrid 1929-03-23 67. Berceuse (Brahms) (Fr) DA1038 BJ2033 HMV, Madrid 1929-03-23 68. Siete Canciones Populares (Falla) Nana (Duermete nino) DA1036 BJ2061 HMV, Madrid 1929-03-26 69. Siete Canciones Populares (Falla) Jota (Dicen que no nos queremos) DA1036 BJ2062 HMV, Madrid 1929-03-26 70. Himno a la Exposicion de Sevilla (Salud americanos, el mundo por el mar) (Alonso) DB1277 CJ2155 HMV, Madrid 1929-05-05 71. Vizcaya (Basque folk song) (Anglada) DA1085 BJ2279 HMV, Madrid 1929-06-17 72. Malaguena (Cuando sali de Marbella) (Nin) DA1086 (30-2319) HMV, Madrid 1929-06-17 73. El Pano Murciano (Diga usted senor platero) (Nin) DA1086 BJ2290 HMV, Madrid 1929-06-19 74. A unos ojos hechiceros (Vila) DA1085 BJ2291 HMV, Madrid 1929-06-19 75. El Trust de los Tenorios (Serrano) Te quiero, morena DA1087 BJ2304 HMV, Madrid 1929-06-21 76. Tosca (Puccini) E lucevan le stelle DA1087 (30-2323) HMV, Madrid 1929-06-22 77. Sangre de Reyes (Balaguer) Adios para siempre DB1482 CN1122 HMV, Barcelona 1930-12-09 78. Ay, ay, ay (Perez Freire) DB1483 CN1123 HMV, Barcelona 1930-12-09 79. Un Polvillo de Rape (Anglada) Para aliviar el costipado (w. Anguerri, J Anglada & E Anglada) DB1507 CN1128 80. La Dolores (Breton) Henchido de amor santo DB1483 CN1141 HMV, Barcelona 1930-12-15 81. El Duo de la Africana (Caballero) Africana, gitana, nacida muy cerca DB1507 CN1142 HMV, Barcelona 1930-12-15 82. El Guitarrico (Soriano) Suena guitarrico mio DB1482 CN1155 HMV, Barcelona 1930-12-17 83. La Marsellesa (de l'Isle) (w. chorus) DA1203 0NA478 HMV, Barcelona 1931 84. Himno de Riego (Himno Republicano Espanol) (de Reart-Carrion) (w. chorus) DA1203 0N479 HMV, Barcelona 1931 85. Vals No 15 (Dejame beber en tu boquita mujer) (Brahms-Moreno) DA1208 0N526 HMV, Barcelona 1931 86. Sadko (Rimsky-Korsakov) De grandes perlas y diamantes lleno DB1518 (32-2205) HMV, Barcelona 1931 87. Libertad (Himno) (Cesaron ya tus penas, tu angustia) (E & J Anglada) (w. chorus) DB1518 2N540 88. Roi d'Ys (Lalo) Puisqu'on ne peut flechir... Vainement ma bien aimee DA1208 (30-6793) HMV, Barcelona 1931 89. La Bruja (Chapi) No extraneis, no que se escapen' (Jota) (w. chorus) DB1746 2J537 HMV, Barcelona 19311932 90. La Bruja (Chapi) Todo esta igual DB1746 2J544 HMV, Barcelona 19311932 91. La Villana (Vives) Tus ojos me miraron (Romanza de Fadrique) DA1276 0J545 HMV, Barcelona 19311932 92. Los Picaros Estudiantes (Mediavilla) Mas bella no la vi jamas' (Romanza de Carlos) DB1747 HMV, Barcelona 19311932 93. Maria la Tempranica (Torroba) Yo te quiero, una noche dije dormido (Romanza de Miguel) DB1747 2J559 HMV, Barcelona 19311932 94. La Cancion de Pierrot (Yust) Era una noche de luna DA1276 0J581 HMV, Barcelona 19311932 95. Miguelon (Luna) Romanza de Miguelon DA1358 0J1167 HMV, Barcelona 1933 96. Miguelon (Luna) Ya esta aqui la ronda DA1358 0J1168 HMV, Barcelona 1933 97. Miguelon (Luna) Dios te lo pague, Maja Pilara DA1359 0J1169 HMV, Barcelona 1933 98. Miguelon (Luna) Arre caballico mio (w. Rondalla) DA1359 0J1171 HMV, Barcelona 1933 99. Luisa Fernanda (Torroba) Cuando se enciende el lucero (Romanza de Javier) DA1420 0KA21 HMV, Barcelona 1934 100. Miguelon (Luna) Presa del azar, el contrabandista DA1420 0KA22 HMV, Barcelona 1934

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End Time: 2024-12-04T18:26:35.000Z

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