«No Oculto Profuso» (2009), by Miguel Azguime, is dedicated to Nuno Pinto and was written in close collaboration between the composer and the performer. (...) A kind of “super-instrument” is thus created, as a result of the electronic expansion of instrumental gestures. (...) «No Oculto Profuso» is a very demanding piece but both the composer and the performer succeed in creating a consistent dialectic between the contrasting elements, generating a succession of well-focused sections.”

António Ferreira

“Clarinet & Electronics: Portuguese Works/Adventures of Sound and Electricity”

New Music Review Lounge, January 2012

>> Read the Whole Review


«Le feu qui dort» takes its title from a French poem by Mário Dionísio and posses a notable and subtle singularity. The technical and linguistic clarity is undermined or, preferably, emphasised by a discourse, in which, paradoxically, the characteristic elements of Miguel Azuime’s language appear treated as authentic objets trouvés. This attitude creates unsuspected overtones, with a kind of alchemic maceration of the sound material.”  

Virgílio Melo

“Comment le taire?”

New Music Review Lounge, February 14th 2012

>> Read the Whole Review


“Miguel Azguime, known for his great versatility and for possessing a wide range of resources within the contemporary idiom, found the appropriate elements to enhance the meaning of the text. Many of the periodic, ascending or descending gestures evoked images of waves or the rises and falls of the water droplets during the water cycle. There were also continuous fluctuations of melodic lines imitating the wind, and rhythmic patterns that sounded like isolated or superimposed ostinatos encouraging the water droplets in their march to the sea. The harmonic modulations that occurred just before the water droplets ended their journey produced a notable timbral effect. The real-time sound transformations were discreet. As for the pre-recorded sounds played in alternation with the singing voices, they enriched the overall sound palette.  (...). The opera «A Menina Gotinha de Água» owes much of its success to the integration of its components. It is a good example of where the whole is greater than the sum of its parts. For its quality and diversity of means, it will be remembered as one of the major events on the Portuguese contemporary music scene in 2011. At the end of the performance, it was rewarded with an enthusiastic round of applause from the audience.”

Benoît Gibson

“A Menina Gotinha de Água” (“The Little Gril Water Droplet”)

New Music Review Lounge, January 3rd 2012

>> Read the Whole Review


“Miguel Azguime composed «Paraître Parmi» for amplified string quartet and electronics between February and August 2006 in Berlin. (...) here the dialogue between the acoustic and the electronic reflects itself in a different way. Miguel Azguime applied the same theoretical model to elaborate both, the electronic and the acoustic parts, giving them a relation of symbiotic proximity. «Paraître Parmi» has a strong, almost «rock»  sonority, being simultaneously a contemplation on sound, its transformations and spectrums.”

Jakub Szczypa

“Circuits of the Portuguese String Quartet”

New Music Review Lounge, December 2011

>> Read the Whole Review


“Perhaps even more seriously than exploring and questioning the status of opera today, Azguime questions the status and effects of the institution of the composer in the media age. Being an artist capable of intervening in different fields simultaneously, he responds to the needs created by today’s age of complex technological demands. Azguime translates the whole compositional process from the sonic sphere to the multimedia event. «Salt Itinerary» could be regarded as meta-composition, composition of composition, or opera on opera. Azguime’s compositional strategy starts from composing the literary text. Then the literary text becomes spoken text, later re-composed by Azguime’s own electronic interventions. Moreover, the sonic matrix is brought together with the live image and projected video interventions.”

Jelena Novak

“Voice, The Impossible”

New Music Review Lounge, March 2008

>> Read the Whole Review


© Tiago Santos

“The world is still waiting for a global warming opera but in the meantime Miguel Azguime’s «(ThS)inking Survival Kit» comes pretty close. A bold commission of the City of London Festival, nodding both to this year’s Portuguese and biodiversity themes, Azguime’s music-theatre collage throws us headfirst into the ocean and, if we do emerge back on the earth, we certainly aren’t safe and dry. Performed with ferocious panache by the Sond’Ar-te Electric Ensemble, a group of acoustic instruments and electronica, Azguime’s sound world is as murky and all-consuming as the sea itself. A jumble sale of poetry, from Shakespeare and Joyce to Pessoa and Camões, was our raft, whether spat, hissed, or occasionally, sung at us by Frances Lynch, clad in the classic avant-garde robe of white negligée and tuning fork.”

Neil Fisher

“(ThS)inking Survival Kit”

The Times, July 8th 2010, London


“To witness [Miguel Azguime’s] performance is a one and only experience. He gives his all, being a clown, a madman, genius, Japanese, tenor, child or an old man. This never-ending series of roles and vocal creations is to reflect the idea present in the libretto (…) of blurred sense and disappearing of the author in the contemporary world. Obviously the author does not aspire to measure up with the classics of philosophy, who devoted to this subject a lot of energy, but rather chooses abstract poetry or word games. The text in itself acquires purely autonomic values, as a language odyssey, a wandering through areas significant for the contemporaneity, between meaning, ambiguity and lack of significance.”

Jan Topolski

“Droga soli” (“Salt Itinerary”)

Ruch Muzyczny, November 29th 2009, Warsaw

English translation: Jakub Szczypa


“Miguel Azguime’s hour long mélange of video and processed vocals, «Salt Itinerary», places a veneer of piquant unpredictability on a fastidiously planned and persuasively paced scheme of varied sensory events.

“The live electronics are handled with well-nigh balletic grace. In the midst of all this, and magisterially immersed in it, is Azguime himself. Gawking into the camera, scrawling on a tablet, morphed into a cartoon, or clad in reflective white before a screen, he is the thing projected and the thing projected upon.

In this multimedia opera, (…), both technology and language function as playthings of equal and endless fascination.”

Andrew Johnstone

Review on The Irish Times

April 28th 2007


"Linking a stage presence of rare intensity to an incredible virtuosity in the electronic treatment of images and sounds, Miguel Azguime absorbs us into the interior of a whirlwind of indefatigable imagination, into the labyrinth of the invention of each moment: great planes of sense, words, sounds, gestures, situations, postures.

His polymorphic works, just as lyrical as entertaining, can surprise and seduce musical experts as well as absolute beginners.

Broadcast from an apparatus which surrounds the audience, the sound takes over the space, while the image projected on multiple screens becomes volume and territory. On the stage, Miguel Azguime leads the audience through a frenetic rhythm, in an act of madness, of astonishment, of excitement.

Knowing how to manage the words and the sounds with such skill and lightness, the musician and poet Miguel Azguime contradicts the severe reputation that often sticks to contemporary music.”

Bertrand Dubedout

Festival Mira

April 4th 2006


“The 2007 Bourges festival opened, as had the 2006 one, with a theatrical piece, this time a new opera by Portugese composer Miguel Azguime, «Itinerário do Sal», an endlessly inventive, endlessly entertaining one-man multimedia show. Live and pre-recorded video, live and pre-recorded music collided and coincided alternately and simultaneously, dominated by the masterful performance of Azguime himself.
It was just as the saying has it, a tough act to follow—and it’s a tribute both to the confidence of the festival’s organizers and to the quality of the music that filled the next nine days (and that evening’s next couple of hours) that this spectacular show was chosen to open the festival. Sure it overshadowed everything, but the everything was pretty good and pretty memorable nonetheless.”

Michael E. Karman

“Synthèse 2007”

assymetry music magazine, July 8th 2008

>> Read the Whole Review


“Miguel Azguime was prodigious and can be considered one of the greatest percussionists of our time...”

José Blanc de Portugal

Diário de Notícias