Critic
"Miguel Franco, author of a 'Divertimento' for piano, flute and oboe that was performed by the Debreçen trio. One notices in him a natural sense for conceiving and knowing how to distribute the music. The work was well liked and very applauded”.
«Miguel Franco searches for his own language that adequately combines the evolution of the twentieth century with a very personal vision, eliminating all artificial avant-garde traits to achieve a type of work that communicates, beautiful, and above all with a peculiar atmosphere.»
"...the interesting and well-constructed Fantasia-Toccata, by the young Spanish composer Miguel Franco, rich in dynamic contrasts and with the basis of a language of direct and easy communication when played well.”
«This Partita No. 2, which Joaquín Soriano played splendidly, is virtuosic music with which the pianist seems to enjoy and no less the public, judging by the long ovation that interpreter and author received.”
«...in the "Overture in the form of variations", opus 58, Miguel Franco once again demonstrated his evident mastery of the secrets of symphonic language.”
“In reality Párraga's Cuatro Miradas constitutes a concerto for cello and orchestra of a broad template that is handled with evident fluency by the composer. The work is always listened to with evident pleasure and in more than one respect may be a continuation of the generation of the great masters of Spanish music.”
«…an open author, although with an attentive and sensitive measure of modern languages and at the same time capable of merging them with the taste of instrumental color and characteristic rhythmic games.»
"... the Chamber Concerto may be the work that best represents the characteristics of a style in which an almost constant glance at the baroque unites with a certainty in the discourse in which the music flows without haste, and always controlled. The fondness for fugatos honors a way of doing that is enriched by an orchestral palette whose originalities obey an innate good taste.”
«...the work written by Miguel Franco and entitled "The Triumph of Death", due to its relation with the Flemish panel made by Pieter Brueghel... an honorable work, no doubt,... forcing us to think about the always tortuous transit of artistic creation. Another way to meditate.»
«With his Passacaglia, Miguel Franco once again surprised us with the solidity of his workmanship and at the same time the intrinsic attractiveness of his work, which places its author in the first row of the contemporary Spanish musical panorama, on a par with names perhaps more widely known but certainly not better.”
“In the tradition of the best ancient (Bach) and modern (Webern) passacaglie, the young double bassist and composer offered our orchestra a work of height: timbrally attractive, formally elaborated and, harmonically, by equally modern and rooted in tradition... This type of musical language, which some call "biensonant" as opposed to radical avant-garde or "avant-garde without an audience”.