Caroline Barray del 31 ottobre 2021 in Strumenti e Musica Magazine

In questo nuovo album Miranda Cortes ci regala una visione sonora vera e non solo, uno spaccato particolarmente crudo della realtà che viviamo.

Dopo un primo ascolto ci si potrebbe sentire come in un risveglio troppo brutale, e invece il tutto si trasforma in uno slancio vitale, che ci apre finalmente un nuovo orizzonte. La sincerità dei testi e delle musiche in questo periodo così difficile, ci fa accedere ad una profondità musicale e di pensiero che caratterizza fortemente il lavoro della compositrice, trasmettendo il suo messaggio all’ascoltatore in un modo naturale e immediato.

Siamo di fronte ad un lavoro discografico unico!

“Sempre” è pregnante e rivela la fisarmonica in un modo particolarmente poetico. La dimensione acustica del suono ci fa sentire una potenza espressiva inedita, mentre il contrasto con “La terre et le Ciel” che chiude il disco, non è da meno: si assiste ad una metamorfosi dello strumento con l’ausilio della contaminazione elettronica di Simone Faliva e una suggestivo componimento lirico declamato dall’autrice. In questo brano conclusivo, l’emozione viene suggerita da una complessità di linguaggio al solo servizio dell’espressione musicale; la compositrice chiude l’album in senso compiuto, sfruttando pienamente tutte le risorse sonore della fisarmonica.

Nell’opera di Miranda Cortes si sente qualcosa di definitivamente nuovo, una ricerca di linguaggio inedita e sopratutto ben riuscita “Cortango” ci porta su altre prospettive e disegna bene la naturalezza del talento tecnico della musicista. Risuona l’incantesimo di famosi tanghi argentini, ma al di fuori dai codici convenzionali, grazie ad una seconda parte del brano incentrata sulla sperimentazione sonora dello strumento a mantice.

Nel “Le Tarn” le dita acrobatiche dell’artista saltano sulla tastiera della fisarmonica per ricordarci che è il momento storico di agire, anche quando vorremmo divertirci. In effetti, questo album, il cui titolo è “Il Coraggio” avrebbe anche potuto intitolarsi “Il Risveglio”.

La teatralità del “Le diable, ça va” supera quella del suo autore, Jacques Brel, ricordandoci che Miranda Cortes è da sempre un personaggio da palcoscenico, fa parte del suo DNA. Lei rappresenta il palco da quando ha iniziato a tenere la fisarmonica tra le braccia e la scena di sicuro appartiene a tutti coloro che hanno qualcosa di speciale da trasmetterci.

La “Valse lunaire” rivaleggia in fantasia e gioia con il suo modello classico della Valse francese. L’intimità di “Prière dans la nuit” è ben valorizzata da un evocativo quartetto d’archi, in netto contrasto con la chitarra elettrica del brano successivo: “il Treno”. In questo disco Miranda Cortes reinventa la fisarmonica in una esplosione di energia e colori, dalla quale nessuno può rimanere indifferente, siamo di fronte ad una tempesta sonora di bellezza.

Loris Boehm on LineaTrad Press 14 july 2021

Work already presented in the press release published on n. 86 Lineatrad (June), it comes to us in physical version. Like all Radici Cds, it stands out the Tintoretto plasterboard of great value, exalted by the gray-fire red bichrome, and the superprofessional mastering that enhances the accordion of the French Miranda. Accordionist and percussionist, as I was saying, an obsessive easy-going rhythm combines with Miranda’s chansonnier vocal style, sometimes solemn and gloomy cathedral style, sometimes mischievous, tanghero, sometimes a bit crazy and sentimental. The cello recording is deeply expressed ... the electric guitars of Michele and Marco Pucci give here and there strong scents, and what about the electronic interference of Simone Faliva on the last alluring song track?

Sometimes we find her also as a storyteller, in short, nine songs where there is no boredom, but discovery and strong emotions. Everything sublime, including the photos of the internal booklet... fields of flowers and sea of which it seems to smell... but you have to have a very powerful magnifying glass to read the microscopic texts. Not bad, the content of the disc is really well worth buying.

Loris Boehm

Francesca Brandes del 30 maggio 2021 Francesca Brandes, èNORDEST GIORNALE ON LINE, 30 may 2021

She saw the shadow, Miranda Cortes. That insinuating, ambiguous shadow that has the scent of fear, but also of the human disaffection to the good, to the care of the other. An anguish that, in the last period, touched us all, more or less consciously. She - multifaceted musician, the breath in the accordion -she knew how to face open face. With courage.

The Courage

And just like that, Il Coraggio, is named her latest album, just released in Italy by Radicimusic Records (www.radicimusicrecords.it). «This is my solo work, from A to Z. - she comments decided - The protagonist could only be the accordion, but accompanied by the presence of friends, important guests: Michele and Marco Pucci on electric guitar, Emmanuele Praticelli on cello, Michele Sguotti on violin and alto. I am grateful to Simone Faliva, for having participated with the evocative force of the electronic dimension».

The disc

Recorded between late August 2020 and March of this year, Il Coraggio is a daring, multiform work. It brings together all the passion, commitment and experience of Miranda Cortes: a career rich in meetings and collaborations; research in the ethnomusicological field, in particular to the Mediterranean area and the Middle East).

The accordion

And yet, playing the accordion, Cortes - French from Metz - came almost by chance: “I had just turned eight” - she says - “and one day my father came to me and said: we decided that you will start studying music ... which instrument do you want to learn? You can choose the piano or the accordion, but the accordion is already at home!"».

Who's Miranda

Miranda who, in reality, loves above all dancing, chooses precisely the accordion. She is a curious girl, with a great desire to discover the world sounds. Already at that time she showed courage: academic studies - interrupted and then resumed - combined with an unbridled desire to try new ways. Over the decades, she experimented with versatile repertoires, from rock to classical music, from songwriting to live electronics, from blues to combat folk, to world music of tradition and research.

La Frontera

In 2001 she founded the Ensemble La Frontera (many remember the Mistral album of 2015); in 2016 Miranda publishes =NDAR, a recording made with the singer and musician Rachele Colombo. Theater suits her, where the Accordéon combines perfectly with its biting speech, a decisive stage presence.

Music doesn't betray

An aesthetic and moral project that the music does not betray, starting from the powerful incipit, that the track Sempre plays with a solid programmatic structure; weaving with all the polychrome intensity, enveloping, all the breath. The whole of Creation in a breath, simultaneity and gamble. It would be enough listening to the initial piece, to define the horizon, with that J.S.Bach track - the Prelude XXIV bwv 869 - which is harmonic and like an archetype memory. But Cortes, track by track, adds diamonds to the performance of the work: in the Occitan air of Le Tarn, the music - sinusoidal, elliptical - to keep ghosts away; Cortango, which throw away every common place, in an unlikely dialogue between cello and accordion. Or the poignant Prière dans la nuit, which has the power of invocation, to the bone.The train surprises, a song with a strong rock ancestry, Accordéon and electric guitar, sometimes psychedelic. The shadow creeps into the reinterpretation of Jacques Brel, with Le Diable, Ça va; the tension is lightened, on the contrary, in Promenade, which is pure joy, a perceptive rainbow.

The inspiration

Perhaps, the inspiration of the entire album, is in the two final tracks, where it emerges clearer and more integral. The first, Valse lunaire, is as fast as the impulse to dance, to the point of sharpening the senses in a paroxysmal motion. Strength of the most dear memories, opposition to the shadow: «My parents were excellent dancers - says Miranda - I still see them dancing the Valse and turn so quickly to look like two birds twirling». A whirlwind of good.

The piece that closes The Courage

The piece that concludes Il Coraggio, La Terre et le Ciel, is instead a masterful combination of electronic dimension, evoked by the great Simone Faliva, and a multi-tone accordion: totalizing suggestive vision, to reiterate the need to live in harmony, together, in the light. From the Gothic Metz to the lagoon of Venice, where Miranda Cortes chose to stop: a story hard to forget.

Francesca Brandes