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
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.
Photo: © Benjamín Larrea
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.
Photo: © Mike Minehan
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.
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.
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.
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