At the beginning of the 20th century, Europe is living in peace and prosperity. The “Belle Époque” is an outgrowth of previous important historical events and developments. The networks that are created and which evolve funnel both people and their products, tangible and intangible. It is within this multi-layered world that sound recording and sound reproduction is invented. Early record labels send mobile crews literally all over the world to record local musicians. The range of the repertoire is endless. Cosmopolitanism in large urban centers favors polystylisms and polymorphisms. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, radio, photography, orchestras’ tours, but also circulations in all kinds of commercial channels in a world that evolves dynamically and anisotropically, form a complex network of “centers” and “peripheries” in alternating roles setting musical idioms in motion, both literally and figuratively. The network in which the Greek-speaking urban popular song participates, constantly conversing with its co-tenants, is magnificent. Discography has already provided important tools in understanding the relationships that developed between “national” repertoires. The result of this ongoing research is “Cosmopolitanism in Greek Historical Discography”.

One of the fascinating networks in which the Greek-speaking urban popular song participates concerns the Spanish world, which, through a variety of paths, meets the Greek one. A key chapter in this influence was the unparalleled international success achieved by a Spanish estudiantina in 1878 in Paris. Following its success, the band toured countless locations around the world. According to the sources, on February 28, 1886, the Spanish estudiantina gave a concert in Constantinople (Istanbul) and on April 26 and 29, 1886, in Athens (for the first Greek estudiantina, see Ordoulidis, 2021a: 88–100 and Ordoulidis, 2021b). The Spanish students mainstream the culture of semi-professional music bands, the culture of the banduria, the mandolin, the guitar, the “tuna”, that is, the street serenades, and the habanera. The latter follows a path that starts from the Afro-Cuban repertoires and ends up being appropriated by Greek musicians, finding its place even in the form of the manes (see, for example, the Smyrneiko minore (Smyrnaean minor), Gramophone 12574b). The network of the theater is a key environment for the circulation of music; and the relationship between the two (music-theater) is more than dynamic. The appropriation by Greek musicians is twofold: on the one hand are the lyrics, which are now in Greek (often, in fact, they have nothing to do with the original ones), and, on the other hand, the performance practices: different instrumentation, different singing style, often differences in melodic and rhythmic forms and in the harmonies. Greek musicians adapt what they hear to their own condition, based on their own capabilities. In 1894, when the play of the then most popular zarzuela “La Gran Vía” was played for the first time, a new path that led to the appearance of the Athenian revue opened. Spanish songs started being adapted into Greek since then. These songs arrived at the Greek-speaking world either directly or indirectly, through other repertoire networks. In any case, the circulation of musics is already a reality before the 20th century with theatrical and musical performances tours, but also with the networks of music publishing houses. Discography was not only embedded in this context, but played a key role in its transformation. In various cases, often due to the great international success of the songs, the resulting network is extremely complex, and contains recordings in countless places, languages and aesthetical frameworks. One such case is the song "Printsezita".

It is an adaptation with Greek lyrics of the Spanish song "Princesita" from the operetta "La corte del amor", set to music by José Padilla and libretto-lyrics by Manuel Fernández Palomero.

According to the National Library of Spain, it was first performed at the Teatro de la Comedia, in Madrid, on June 24, 1916.

The song was a global hit, has been recorded and arranged many times in historical discography, in various forms, languages and locations. For example:

- Tito Schipa, Camden, New Jersey, March 9, 1922 (Victor B-26107 - 66067)
- M. Marino - Orch. J. Padilla, probably Paris, 1928 (Pathé N 8657-1 - X. 8545)
- Miguel Fleta, Madrid, March 12, 1927 (Gramophone CJ 607-2 - 2-062033 DB1024 6667)
- Alberto Vila, Buenos Aires, 1928 (Victor BAVE-44356 - 80988)
- Enzo De Muro Lomanto, Italy, 1934 (Columbia W B2770 - D 12616)
- "Miguella", Marian Demar, Warsaw, 1937 (Syrena-Electro 28069 - 9852)
- "ПРИНСЕСИТА", С.М.ХРОМЧЕНКО (Solomon Khromchenko), Moscow, 1939 (Aprelevka Plant 8669 - 8669)
- Dr. Alfonso Ortiz Tirado, Mexico, 1946 (Peerless 27-9644 - 2178)
- Alberto Ribeiro, Rio de Janeiro, 1955 (Copacabana 5394)

In Greek historical discography, it was recorded by Michalis Thomakos (present recording), Petros Epitropakis (Athens, May 21, 1929, HMV BG 85-2, - AO-565), and Kostis Stellakis.

The recording probably took place in Milan, given that, according to the extremely interesting report compiled by Edmund Michael Innes from the trip he made to Greece in April-May 1930 as an emissary of the British record label His Master's Voice for the purpose of collecting and recording information about the company's situation in Greece (also) in relation to the other record labels that were active in the area, Columbia used to send to Milan one of its tenors, [Michalis] Thomakos (Tomako), almost every two months in order to record its latest Western "hits".

Research and text: Leonardos Kounadis and Nikos Ordoulidis