Kronen Zeitung, Christopf Hartner, 18.01.2026

“A dance evening as a total work of art: … It is the next ballet triumph for Graz.

Miranda translates the underlying themes of the Divine Comedy into choreography that strikes a balance between sensuality and the search for meaning, between restlessness and resignation to fate—and achieves this impressively. 

Around this choreographic core, Miranda, set designer Till Kuhnert, and the entire creative team build a visually stunning, expansive, and sensually meaningful total work of art that touches every corner of the opera house—and is also sure to leave no one in the audience unmoved.” 

 

 

 NZZ, Neue Züricher Zeitung, Lilo Weber,15.11.2021

 “The news was a shock: Estefania Miranda is giving up the dance direction at Bühnen Bern… This is a bitter loss. Within a few years, the Chilean-born dancer, actress and choreographer had completely reorganized dance in Bern: with numerous, very different choreographers, with a decidedly individual choreographic aesthetic and with continuous support for young artists. In this way, she has been able to reach new audiences - and have sold out performances. In the season before the pandemic, the dance division recorded an average occupancy rate of 95 percent, far ahead of the opera and drama department. 

Burned into memory… Estefania Miranda came from Weimar in 2013, where she had been curator of dance at the National Theatre Weimar. She has remained a curator ever since. Her tireless search for exciting accompaniments to her own work, and especially her search for young talents, besides well-known names, have certainly contributed to the enormous popularity of her department. 

Whether in the Vidmarhallen or Stadttheater - dance in Bern always provides surprises, clever surprises moreover, be it that the pieces take a turn into the absurd or that what at first appears harmless suddenly reveals abysses, emotional abysses, but also cracks in social agreements…

This was and is courageous, but Estefania Miranda seeks the challenge. She herself has taken on great themes and subject matters in her pieces: Franz Kafka's novel "The Castle," for example, or the opera icon Maria Callas…

A successor for the great artist and cultural manager Estefania Miranda will be sought for 2023.”

 

Berner Zeitung, Michael Feller, 03.05.2019

“The guarantor of success

Estefania Miranda has made her department the most successful at Konzert Theater Bern. Thanks to her intuitive understanding of the Bernese audience. And her unfailing sense of good taste.

I appreciate structure because structure provides artistic freedom,” says the 44-year-old Chilean. South American temperament? Yes, it shines through, yet it often blends into the clarity of Estefania Miranda, who has been the head of the dance department at Konzert Theater Bern since 2013.

The head of what is considered the most avant-garde department, is the one whose work bears the clearest signature. And with the best occupancy rates in the theatre. When Konzert Theater Bern dances, it dances to a full house.

How does she do it? “There is no recipe for success in art,” she says, and yet she seems to have found one for Bern. She focuses on authenticity, openness, and the right guest choreographers. In her own choreographies, she creates accessible, emotional, and aesthetic images.”

 

 

Journal B, Christoph Reichenau, 1.1.2020

"Dance in the first place. Under the direction of Estefania Miranda, the company has become the jewel in the crown of KTB, both in terms of dance and as an audience magnet. In the coming season, it will be rewarded with a second production at the Opera House with Orchestra. The director's development work has paid off, both for the individual dancers (health care, retraining opportunities) and in the promotion of young choreographers. It is to be hoped that this will happen in all ensembles. "

 

Hamburger Abendblatt

"Estefania Miranda made herself a name in the international dance scene long time ago ... In her latest choreography, she shows in a touching way, internal and external deterioration and dissolution of social and private structures. It's about injury, damaged intimacy, isolation, and the question whether the individuals can reinvent themselves every day."

 

Linke Züricher Zeitung

“... a piece that demonstrates, that a body can represent all human emotions and struggles absolutely excellent and clear. ... a well-structured dramatic arc, even if it is not narrative, but only at the end recognizable as a round thing, is also in the category of dance an absolute plus. Remember this name for the future!"

 

Thüringer Landeszeitung

 "The dancers interact with fascinating expression and fill imaginary spaces with high creativity, passion and constancy. ... there were thirteen images of captivating intensity. The audience thanked with long applause."

 

Le Régional Lausanne

"The second part of the dancetheater trilogy Zwischenräume in the choreography of Estefania Miranda is current, socially critic and psychological. ... visually and conceptually very convincing. "

 

Thüringer Allgemeine

"Scenes of solitude: melancholy, rebellion, uncompromising ... a highly differentiated, own choreography. ... the work is impregnated with poetry, from the knowledge of the dramaturgy of the body language.”

 

Freiberger Wochenspiegel

"An openning image of overwhelming symbolism. Four black-dressed women move to the monotonous sound of bells, their arms wrapped tightly around the body, their backs turned to the audience. Suddenly they awaken from the lethargy, they run forward and are held by ropes that chain them to the house. The play “Bernarda Albas House” begins with such force. The performers move with almost acrobatic abilities, along the walls ... an excessive body language, as it is rarely seen on stage.”

 

Thüringer Allgemeine

"The exciting question before the huge approved performance, was how the choreographer achieved her stated objective, the representation of objective reality in the mirror of subjective feelings. She chose with Reinier Schimmel and Miquel de Jong two excellent dancers from opposing charisma. Both embody the stated objective to exhaustion. "

 

Goldberg, Thüringer Allgemeine

„ ... and again Estefania Miranda creates magical moments ..."

 “Estefania Miranda has brought with „Hubert wants to go out“ the danced monologue of a person like you and me, impressively on stage.”

 

Thüringer Landeszeitung

"In a touching pas de deux with Miquel de Jong both dancers flow into each other like two rivulets, the settling of the partner seems to have been almost completely forgotten between the harmonic lifting figures."

 

Freie Presse

"The intense body language is the result of the sophisticated choreographic work of the choreographer Estefania Miranda with the performers."

 

Neue Presse Dresden

"The intensity of feelings ... implores this ensemble with body and soul with poetry and toughness. And it makes use of expressive elements of dancetheater (praises to the choreographer Estefania Miranda!)."

 

Thüringer Landeszeitung

 "... a with knowledge densely written stage. "