He was born in Albalate de Cinca (Huesca) December 1, -1897 and died in La Coruńa , May 28, 1938). He was the last one of a family of fourteen children. His complete name was Miguel Burro Fleta.
     The father was called Vicente Burro Gayán and was treasurer of the City Hall of this town during the Spanish First Republic. The first musical steps of Miguel went in the rondalla (group of serenaders) of his town, and his first musical instruction was in charge of his own father and of D. Lazarus Uriol. In September of 1917, he already emphasizes in a contest of jota celebrated in Villanueva de Gállego (Saragosse). Once determined his musical vocation, he will pass to the Isabel II Conservatory of Barcelona; and later, in the same city, he will study repertoire with the Belgian teacher Louise Pierrick.
      In Milan (Italy) Miguel prepares his debut, that will be produced in 1919 with the opera of Zandonai, an Italian contemporary composer, Francesca da Rimini, in Trieste. Few years later -in 1923- is produced another debut; at this time in the Metropolitan of New York. During the 20 s will happen his tours throughout the world, arriving to China and America Southern. Fleta will also be assiduous in the theaters of the main European nations.
      His exceptional voice of tenor (as shows his old disks) covered since the baritone to the tenor and was gifted of a prodigious one "air". This authorized him a prodigious phrasing and a 'messa di voce' that did of him a tenor with an exquisite sense of the ballad.
      Although nowadays the concept of the song has changed and large successes have been reached in the recovery of the 'bel canto barroco', far away of some extremes to the ones that carried the realism of Puccini, Fleta continues being a figure respected in the anal of the world lyric. His repertoire, besides, was adapted perfectly to his lyrical school: basically the great Italian school, Verdi (Aida, Rigoleto), Donizetti (The favorite one), the realistic Leoncavallo and Puccini (Rough, Turandot), ....

      An important milestone in his career constitutes it, without doubt, his participation in the posthumous premiere of Turandot, in 1926, in the Scala of Milan, under the direction of Arturo Toscanini. Of his multiple creations would be able to emphasize his Radamés of the opera Aida and his Mr. José of Carmen, of Bizet.
      The final biography is still by doing. Being he died in 1938, supporting actively to the Franco power side, so that has been able to call him "tenor of the Franco's regime", the publications on this life have had all a partial orientation.
      The political and public evolution of Fleta is complex and contradictory and can remain aimed in his recordings so much of 'Cara al Sol' as of the Marsellesa and of the Hymn of Riego [Listen it]. Next to his political swaying -that culminates with his enlistment to Falange [Listen it] in July of 1936-, had always, in testimony of the that recall it, an enormous worry by the future of the lyrical art in Spain and by the formation of the singers.

      We do not forget that from April of 1925, the Real Theater of Madrid (where he had acted for the first time in 1922) had closed to the opera, and that the situation of the lyrical art in our country, did not do but that to get worse.

§§§§§§§§§§----------------