The musical and dramaturgical language of the performance art-concerts in duo is no different than that of the solo concerts. True to Fátima Miranda’s poetics, both are built around various movements in which the intimate and the extroverted alternate. Ritualistic, melancholic, joyous and mad atmospheres follow each other closely, harmonizing the quotidian and the sublime, the sacred and the profane, with a finely-tuned, transgressive and healthy humor, achieving an elegant and meaningful result.

As in the solos, perVERSIONS and aCuerdas rely on a carefully thought-out and Spartan scenic environment. On stage in one case, a singer and a pianist. In the other, a singer and a hurdy-gurdy player. As always, the stage area is austere, having no merely decorative or narrative elements. A refined lighting design and, in the case of perVERSIONS, an interaction with the images of the distinguished photographer, Chema Madoz, projected onto something akin to floating lace curtains. In complicity with Fátima, both instrumentalists become performance artists offering us in these duos a very thought-provoking evening which distills play, humor and poetry.

Miguel Ángel Alonso Mirón at the piano and Marc Egea on the hurdy-gurdy, both virtuoso, classically-trained musicians, daring and rigorous, do not think of their instruments as mere accompaniment to the voice. Instead, they emerge as experimental and multi-timbral, reinvented through a secular background of genres and styles, becoming transformed, finally, into something new and engaged with the avant-garde. Associations between the popular, the classical and the experimental contribute to the destabilizing and enriching of how both the initiated and the uninitiated listen. Thus, even though it seems surprising to us, their music also seems familiar and moving.