Как и голоса всех исполнителей из этого видео) Чисто технически он проигрывает певцам в этом фильме

And yet Schipa's voice hardly lacks beauty.

@@everydaytenor8862 Me too. Hardly a mediocre voice.

Ian Clerget internet perhaps?

Yes, this recording initially was a part of this video but KZfaq requested it to be removed for copyright reasons. The alternative was to remove the entire video.

@@daryakiryushko2246 Thank you very much for the explanation, Darya. You have put in great effort ,time and love with this compilation. I am surprised at KZfaq's request for the removal of this important aria. It does the great tenor a serious disservice, surely.

Caruso and Tetrazzini on the art of singing

Edward Stroud well said.

The greatest tenor ever only in the mind of people obsessed with ranking who take their marching orders from American advertising .Granted,the Americans have a long standing tradition in advertising and fool many .Yep,he is a verismo tenor,crude or not ,as you like it .When your most performed role is Canio , you are not a bel canto tenor ,you are a diehard verismo tenor ,sobs and roaring inclusive . I think you need a new brain with a true understanding of bel canto style .This not being possible,take a laxative yourself instead of recommending it to other people , and have a nice day in the restroom

@@Nangis123 doesn’t matter if he sang Canio a million times; he was trained in the bel canto tradition dumbo, and his renditions of una furtiva lagrima and spirto gentil more than amply demonstrate this. Who are you anyway, Zucker’s boyfriend, out there championing that incredible voice of his 😂

​@@edwardstroud8245 Doesn't matter to those who have no clue about the difference between bel canto and verismo in both technique and style .Matters to those who know the difference . The first group , in addition to having no clue ,can be also spotted by their aggression and propensity to insult others. Apparently the less they know,the more they push themselves to the fore and the more violently do they insult those in the know ,putting words into their mouths for good measure too. I didn't say ANYTHING about Zucker's voice , dear Caruso's boyfriend ,that's just your imagination ,or inability to concentrate yourself long enough to read a four lines comment .

@@Nangis123 😂 😂 😂

Yes, unfortunately, a pathetic clown|

DON ROBERTO MARTINEZ LOPES jamas c los ha llevado son perennes eternos grandes inmensos inmortales

It comes back after 4 mins. This part is silenced by KZfaq request (copyright reasons).

@@daryakiryushko2246 What a pity. :'( Thanks for answering!

Yes. What a voice!

No puedo estar más de acuerdo. Según Lauri Volpi, que no se distinguía por alabar a sus colegas, Fleta ha sido el artista más grande que ha pisado un escenario.

Añado: Para el estreno de Turandot, Mussolini quería un tenor italiano; Lauri-Volpi, Gigli o Martinelli, sin embargo el maestro Toscanini quiso que el tenor fuera Fleta, que sólo hizo 2 funciones porque tenía compromiso con el Metropolitan. Un jovencísimo Gavazzeni estaba en la sala y dijo que el éxito de Fleta fue extraordinario.

​@@elpescadordesandalias1599 Hello virgilio sanchez rodriguez . Changed your name? What you write is absolute BS ,and you are very busy writing it everywhere . Let me see... this must be the fourth or fifth where I've seen you ,all tenor videos . LV spoke well of many singers in his books and certainly didn't single out Fleta and even less called him best in history ,are you trolling? I fact I wouldn't exactly call praise what he wrote about Fleta and considering how rapidly Fleta's voice deteriorated he was probably right . Mussolini didn't impose any choice on Toscanini . No,Fleta didn't sing just two performances of Turandot just because he had commitments with the Met . He did sing just two performances because his voice was a poor fit for the role .Not only Fleta but also the other three tenors had contracts with the Met,and Gatti-Casazza forbade all of them to leave the Met during the spring season to sing the La Scala premier .The three others were intelligent enough not to risk their Met contracts for the sake of singing some La Scala premier .It wasn't worth to Martinelli ,it wasn't worth to Gigli who had no real intention of singing Calaf ever , and it wasn't worth anything at all to LV who was to sing the Buenos Aires,Rio de Janeiro,and Met premiers anyway . Only Fleta was childish enough to believe he could have his cake and eat it too ,meaning sing two perfs at La Scala AND keep his contract with the Met , and was cheeky enough to tell teh Met he needed leave because was conscripted in the Italian army. He was going to find out soon enough how wrong he was in playing silly games with the Met . Understandable enough, Gatti-Casazza didn't appreciate Fleta's sob story when Italian news reported he was at La Scala. Fleta was sued for breach of contract, lost, and couldn't show his face again in North America. On top of his financial woes his voice, abused in the few years career, had already begun to give way . He never sang Calaf again despite the fact Turandot was staged all over Europe and South America ,and he wasn't bound by any contract . He never sang much of any operatic role again in the following years .This was the end of his operatic career which had lasted less than 10 years . After that it was just zarzuelas for a few more years .The other three tenors kept their lucrative Met contracts , LV sang his three house premiers and continued to sing Calaf happily for the next 32 years .Gigli too had a career for the next 28 years ,happily NOT singing Calaf . The only one who wasn't particularly happy about the entire situation was Martinelli , who didn't get even one Turandot performance at the Met ,but nobody cared much about him anyway .He had however his Met contract ,which was good money, soon to be halved because of the Depression .Still , even singing for a comparative pittance was better than nothing for him