tenor and a baritone
..... a superb lyrical voice
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
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
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.