"Poetica Jazz-ului romanesc" de Gabriela Melinescu
(ROMANIA LITERARA, nr.41, 2007)
(.) Maria Raducanu a fost o aparitie fara precedent - sunetul ei pur nu se aseamana cu sunetul nimanui desi ea canta melodiile Mariei Tanase dar si alte cantece din folclorul romanesc, dar si fado-ul portughez si cantecele de jale si bucurie, in alte limbi, posedand geniul de a "canta" in diferite dialecte, de a fraza limba ca un poet. Si "coregrafia" ei este pura si personala, o silueta amintind "Rugaciunea" lui Brancusi, meditand prin cantec in fata Providentei, punandu-se in genunchi fara sa atinga podeaua, parca "levitand" ca sfintii ridicati de Duhul Sfant. Dar Maria Raducanu, "fata de la Husi", a studiat mai intai Literatura si Filologia si numai dupa aceea s-a afirmat in Muzica, talmacind muzica traditionala romaneasca intr-un fel unic. (.). acea stare psihica si fizica plina de armonie care ma face sa ma gandesc nu numai la Orfeu si la arta samanilor dar si la cantecul ielelor (care exista si in folclorul suedez si e tinuta la mare cinste), la cantecul si la dansul lor in cerc. Acestea au darul de a-i vraji pe cei care asculta si vad, creind acea stare de suflet vindecatoare pe care grecii au numit-o Katharsis.
"The Poetics of Romanian Jazz" by Gabriela Melinescu
(ROMANIA LITERARA, nr.41, 2007)
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"(.)
Maria Raducanu is like no other before her - her pure sound does not resemble anybody else's one although she sings Maria Tanase's songs as well as other pieces of folk music, along with Portuguese FADO, songs of dirge and joy in so many foreign languages, as she is endowed with the genius capability to "sing" in various dialects and to liltingly phrase things in the language, like a poet. Her "choreography" is also a pure and deeply personal one, whereby a figure reminiscent of Brancusi's "Prayer" looms dimly, meditating on Providence by dint of singing, somehow kneeling without touching the floor with her knees as if "levitating" the way saints raptured by the Holy Ghost do.
Still, Maria Raducanu, "a lass from Husi", started by studying Literature and Philology first and it was only then that she made a mark in Music by translating Romanian traditional lays into a unique and never heard before style. (.) That particular spiritual and bodily mood rich in harmony, which puts me in mind of not only Orpheus but the art of shamans too, as well as those tempting fairy spell-chants (also documented in Swedish folklore and held in great esteem in the culture) and their singing and dancing in circles. Those features amount to a gift for enchanting the listeners, for infecting them with a healing state of mind which the ancient Greeks would call KATHARSIS." .
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