Proposals Concerts for Solo Voice

Fátima Miranda’s concerts, whether solo or in duo, large- or small-scale, are characterized by a deliberate sobriety of a poetic nature, and are therefore adaptable to any type of performance space. In her work, form and content are one and the same. Music, lighting, wardrobe, video, with which she interacts, and spatial context all work together in the service of the IDEA.

All of her concerts have a remarkable performative dimension and a very carefully thought-out dramaturgy. The following concert proposals span the entire gamut of possible atmospheres and characters, going from the contemplative, intimate and subtle to the ironic, entertaining and even wacky(?). This makes Fatima’s work appealing to audiences of every age and cultural milieu. To them, her concerts are EXPERIENCES, a bridge which connects ancestral elements, Ancient and Contemporary Art, the Orient and the West, high, popular and experimental culture, and therefore seem surprising and familiar at the same time.

A brief and general idea of these concerts can be gleaned in this Teaser, which contains excerpts from all of them.

Photo: © Bernhard Schmit



Cantos Robados (Stolen Songs-Rolling Stones)


Concierto en Canto


These performance art-concerts include scenic elements and very carefully worked-out, elegant lighting designs. The poetics of sobriety characterize the performance space that is always empty at the start. Almost imperceptibly, the space is brought to life, thereby stimulating the audience’s perceptive capacities. The three concerts integrate three universes: musical, visual and scenic-dramatic. In Concierto en Canto the space is defined by a 7-meter ramp and an anvil; in ArteSonado three clothes lines from which hang white garments; in Cantos Robados an enormous costume 3 meters tall, which ambulates and rotates. The lighting, neither obvious nor decorative, contributes to the creation of mysterious, desolate or humorous atmospheres, and puts into relief the subtle transformation of the costumes from one work to the next.

The dramaturgy of these concerts is structured in two large parts. The first part has a ritual character, restrained and intimate, slow and hypnotic; the second, emphatic and extroverted. In each case both parts coexist in a synthesis which harmonizes the quotidian and the sublime, within an elegantly sensual atmosphere. At the same time an ironic take on kitsch and the grotesque distills fun, joy and even a touch of entertaining and judicious madness. All of this is clothed in an ironic perspective on the presence of the sacred in the quotidian, establishing a dialogue between ancestral memories of music and sounds and avant-garde idioms.


  • Duration: app. 1 hour 30 minutes
  • All three concerts include interactive videos.
  • Fátima is accompanied by 3 technicians: stage manager, sound and lighting technicians.
  • Requirements: Black box stage area, minimum 8 meter proscenium, minimum 9 meter stage depth and minimum 10 meter stage width.
  • Build-up, sound and light checks will take place during the whole day prior to the performance.

Photo: © Benjamín Larrea



Voices of the Voice II



Since many of Fátima Miranda’s works can be adapted to any type of space, they are often conceived as site-specific and/or anthologies which include a selection of pieces from her repertoire or newly created works. In these cases this concert formula manifests multiple aspects of the arist’s work.

A lot of thought goes into the creation of an anthology in order to build a program made-to-measure for each specific context, space, technical infrastructure, theme and budget, striving for the optimum appropriateness in each case. Thus, these concerts are usually medium-sized productions, with scenic elements that can range from the expansive to the more basic. And even though the dramaturgy is structured in the same manner as the large-scale concerts and sometimes includes works with interactive videos, which contribute rich visual elements, it never requires scenic elements as precise and demanding as the former.


  • Duration: between 20 and 70 minutes.
  • The Anthologies are made up of works that do not require complex stage machinery and logistics. And although this format can be presented on a black box stage, this is not an indispensable requirement.
  • The technical requirements for this type of concert are not complicated, but they are precise, as in the case of the lighting design.
  • If pieces from Diapasión and prESENCIAS are included, Fátima will provide her own sound and lighting technicians.
  • For Las Voces de la Voz II, Fátima will only provide her own sound technician. The venue must provide a lighting technician with theatrical experience to whom detailed instructions will be given concerning levels, cues and the design to be executed.
  • Build-up, sound and light checks will take place the day before the concert.

Photo: © Mike Minehan

A CAPPELLA (Unamplified)


These are small-scale performance art-concerts that can be placed in any kind of public or private space, not necessarily theaters. The program includes a selection of those works from Fátima’s repertoire that are particularly suitable for the occasion and the natural acoustics of the space. They do not include interactive videos.


  • Duration: between 20 and 60 minutes.
  • Technical requirements for this type of concert are minimum. The space must be equipped with basic lighting possibilities; no amplification is necessary. The venue will provide a lighting technician to whom detailed instructions will be given concerning levels, cues and the design to be executed.
  • Build-up, sound and lighting checks will take place the day or night before the concert and will last between 3 and 6 hours, depending on the length of the concert as well as the lighting resources available in the space.
  • In principle, Fátima will not bring her own lighting technician, except in those cases when there is not enough time to build-up and do a check the day or night before the concert, and this has to be done the same day of the concert.
  • If the duration of the concert does not exceed 30 minutes, the audience can stand or sit on the floor/ground.
  • A sine qua non condition for the concert, because of its acoustic, unamplified nature, is that the space have excellent acoustic properties, with a long and brillant reverberation.

Photo: © Eric van Nieuwland



These is a new type of small-scale concert-performance, free of stage machinery and backdrops. Intimate, a capella singing and made-to-measure for all kinds of venues: public, private, minimal or enormous, lacking a theatre structure and frequently without amplification. From museums, galleries, sports halls and wine cellars to industrial units, halls of palaces and of private residences, in all of them an act of listening as familiar as it is daring will be set in motion. Fátima, ears pricking, and the audience, interacting together with the silent sounds inherent to each place, with its “signature hum”, invariably different, unique and unpredictable.


  • Duration: between 20 and 60 min depending on the context and whether the audience can stand, sit on the ground or on chairs.
  • This concert is  particularly suited for celebrations, inaugurations, congresses or group meetings around a particular theme.
  • The program will be made-to-measure for each occasion and can include both, Fátima Miranda repertoire  as well as  improvised sections in dialogue with the audience and the architecture of the space.
  • These concerts do not require a traditional stage. Technical requirements are basic and adaptable to existing resources in each case.
  • This concert uses no amplification, although the possibility of amplification will not be excluded if the dimensions or acoustics of the space necessitate it. If the concert were to use amplification and last longer than 30 minutes, Fátima will provide her own sound technician and a sound check will take place the day or night before.
  • The venue will provide a lighting technician and the space with be readied the day before or the same day of the concert with the assistance of the venue’s coordinator of this activity.
  • If it is desired, the concert can be followed by a discussion by or a conversation with the artist.

Photo: © Sigfrido Camarero



This event is composed of two parts: a small-scale concert lasting between 30 and 40 minutes and a theoretical-practical seminar lasting approximately 4 hours. They take place consecutively, preferably between 5 and 10 PM. The participants can present a short work or song using any type of vocal technique, in order to formulate technical, musical or conceptual issues with which they have problems and need resolving. Fátima will redirect, reorient or correct each individual case, energizing and strengthening the vocal and performative resources of each of the participants who request it, striving to have them discover alternative vocal resources based on those they already possess.


  • Duration: 5 hours.
  • The concert and master class can take place in the same space, conference room, classroom, warehouse, etc. Other spaces are also possible.
  • There is no limit to the number of participants.
  • The master class will commence, immediately after the concert, with a lecture by Fátima on her way of understanding the Art of the Voice and vocal technique/s.
  • The session will culminate with one or more collective improvisations based on predetermined guidelines and exercises.
  • This type of concert may or may not use amplification and its technical requirements are minimal.
  • The venue will provide a lighting technician to whom detailed instructions will be given concerning levels, cues and the design to be executed.
  • The build-up, sound and light checks will last between 4 and 7 hours, preferably the day before the event, depending on whether or not amplification will be used. If the event will use amplification the venue will provide a sound technician.
  • The venue must provide basic lighting equipment, and also a sound system if the event will use amplification, as well as the corresponding technician/s.