Fátima Miranda composer, singer, researcher of the voice and vocal music, born of an ethno-minimalist sensibility, since 1985 turns her back on the tyranny of the canons of beauty in song and word and she fearlessly rushes into the forest of the oral traditions.
Averse to comfortable stereotypes, she combines technique from the Orient, the West and those of her own invention, treating the voice as a wind and percussion instrument built into the body. This has allowed her to develop a range of more than four octaves, which she uses to create her own personal musical language and a totally innovative repertoire diffusing the boundaries between singing, poetry, theater, composition, improvisation and interpretation.
Her concerts present a single voice, in symbiosis with a remarkable poetic, gestural, visual, dramatic and humorous charge, which reaches deeply into her audience.
After completing her M.A. in Art History, she specialized in Contemporary Art, publishing two books on architecture and urbanism. Between 1982-89, she directed the music library of the Madrid Complutense University. Following her encounter with Llorenç Barber, she founded in the eighties the improvisational group Taller de Música Mundana, as well as Flatus Vocis Trío, dedicated to phonetic poetry, with which she released two LPs: Opera para papel y Grosso Modo, respectivamente. She soon discovered the unexpected and precious potential of her voice, developing a series of unique and personal vocal techniques.
In 1987-1988 she pursued studies with Japanese singer Yumi Nara and Mongol singing with Tran Quang Haï.
From1987 to 1993 she studied Indian Dhrupad with various members of the eminent Dagar family, Ustad Zia Fariduddin Dagar, Ustad Zia Fariduddin Dagar and Uday Bhawalkar.
From1983 to 1993 she studied bel canto, bringing all these diverse techniques traditionally considered incompatible into a rich, unprejudiced partnership with the avant-garde, which crystallized in her first solo concert in 1991.
From the nineties she has created concerts-performances for solo voice: Las Voces de la Voz (1991), Concierto en Canto (1995), ArteSonado (2000), each of them edited on CD. In 2005 she has created Cantos Robados, in 2011 perVERSIONES, both edited on DVD. In 2007 MADrid MADrás MADrid!.
In 1996, she was awarded the prestigious DAAD grant, being invited by the Berliner Künstlerprogramm des Deutscher Akademischer Austauschdienst, as artist in residence in the city of Berlin. In 2009 she was awarded IV Premio Intenazionale Demetrio Stratos and II Premio Cura Castillejo. In 2012 she was awarded the Women Artists Video Art First Prize-VII International Art and Gender Seville Encounters.
In 2013 he studied traditional singing Mugam with Fargana and Alim Qasimov in Azerbaijan.
In 2014 she creates aCuerdas, a duo with hurdy-gurdy virtuoso Marc Egea.
From 2016 develops the project Living Room Room (Living Room Rumor), a capella singing concerts made-to-measure for all kinds of venues: public, private, minimal or enormous, lacking a theatre structure, frequently without amplification. From museums, balconies, halls or churches, to industrial units, including improvised sections in dialogue with the audience, the architecture and acoustic of the space.
Fátima Miranda has collaborated among others with Llorenç Barber, Robert Ashley, Wolf Vostell, Jean-Claude Eloy, Julio Estrada, Stefano Scodanibbio, Bartolomé Ferrando, Pedro Elías, Markus Breuss, Bertl Mutter, Rachid Koraichi, John Rose, Hans Peter Kuhn, Stéphane Abboud, Werner Durand, Mirella Weingarten, Sacha Waltz, Yuval Avital, Chema Madoz, Baró D’Evel Cirk.
She has performed as a soloist in numerous international festivals within contemporary, vocal and experimental music circuits as well as those of theatre, sound poetry and performance art. See section Calendar to see past concerts.