Grupo Cruce (2007-2013)

Oyeme con los ojos 2009
The international ensemble Grupo Cruce (“Crossing Group”) was founded in 2007 by Úrsula San Cristóbal and the chilean performance artist Francisco González. The purpose of this interdisciplinary project was to establish a dialog between early music and contemporary arts, like Performance Art and Poetry.
From 2007 to 2013, Grupo Cruce developed five interdisciplinary concerts, performed in Chile and Italy.

Mostra te Esse Matrem.
Date: December 23, 2013
Place: Lodi Cathedral, Italy.
Conductor: Grupo Cruce in collaboration with Lodi Cathedral choir (conducted by D. Piero Panzetti).
Artistic direction: Úrsula San Cristóbal.
Description: This performance was about the text and music of the hymn “Ave maris stella” and was intended to be experienced like-ritual. A selection of musical pieces based on “Ave maris stella” (text or music) from different ages were sorted in seven groups, each of them corresponding with a strophe of the hymn. At the beginning of each section the members of Grupo Cruce improvised music and physical movements in response to the text, introducing in this way the musical performance of the choir. The result was an ephemeral performance about the spiritual experience expressed through the music, beyond any particular religion.

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Musica che scorre e rimaneThe Metaphor of River Through the Poems by Jorge Luis Borges and Music From Codex Las Huelgas (Spain, XIII century).
Date: May 2012- June 2013.
Place: Church San Cristoforo sul Naviglio (Milan) and crypt of Lodi Cathedral (Italy)
Conductor and Artistic director: Ursula San Cristóbal.
Description: The metaphor of river is the main subject of this piece through which we try to express different approach to spirituality and art, taking into account the cultural background of each member of the group (Japan, Iran, Chile, Italy). Each musician “replies” to the river images expressed in Borges’ poem Arte poetica and in some pieces of codex Las Huelgas, through reciting verses in their own language and improvising music. In this way, the performance becomes an intercultural dialogue, where musicians can express their own subjectivity in a way that is not possible in a conventional concert of medieval music.


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Del Zenit al Nadir: The Metaphor of Free Falling through Henry Purcel’s Music and the Poem Altazor by Vicente Huidobro
Date: September 2010 – May 2011
Place: Catholic University of Chile (Santiago of Chile) and Casa delle culture del mondo (Milan, Italy)
Conductor: Úrsula San Cristóbal
Artistic direction: Úrsula San Cristóbal and Francisco González.
Description: The dizzying descent “from the zenith to the nadir”, that say, from the highest point of human consciousness to the lowest one, is the metaphor of the free-falling as proposed in the poem Altazor by Vicente Huidobro (1893-1948), one of the most important poets of Chilean avant-garde. This metaphor illustrates the irrepressible desire to “jump into the void” in order to find a way to escape the anguish caused by the transience of life. The fall is therefore a sort of journey in which you only know the starting point.
The sounds of the free-falling are illustrated through the music on ground basses by one of the most prominent composers of the English Baroque: Henry Purcell (1659-1695), while the “staging” of the metaphor is assigned to an art installation that uses fragments of the poetic text.
 DelZenitAlNadir_comunicato stampa.

Del Zenit al nadir CL

Óyeme con los ojos: Women in Music and Poetry. Italian Baroque Music by Female Composers and Poems by Juana Inés de la Cruz.
Date: November 2009.
Place: Cultural Centre “Palacio de Moneda” and Cultural centre of Russia (Santiago of Chile).
Conductor: Úrsula San Cristóbal.
Artistic direction: Úrsula San Cristóbal and Francisco González.
Description: The female subjectivity from both the old and new world is the main subject of this performance. A selection of poems by the Mexican intellectual nun Juana Inés de la Cruz (1651-1695) is put in relation with 17th century music by Italian female composers. In this way the performance proposes a confrontational dialogue between women that express their subjectivity from the point of view of men and women that try to express their own voice. An art installation based on texts and colour lights creates an appropriate space for this performance.
The poetry by Sor juana Inés de la Cruz and music from female italian composers

Visuales Convergencias, Sonoras Divergencias: The Two faces of the Late Renaissance Music. Works by John Dowland and Ginés de Morata.
Date: 2007-2008
Place: Cultural centre of Spain (Santiago of Chile)
Conductor: Úrsula San Cristóbal
Artistic direction: Úrsula San Cristóbal and Francisco González.
Description: The darkness and brightness of renaissance music are explored in this experimental performance. The performance place is not limited to the stage and the spectators are involved in the action through a set of colour lights disposed between them.

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Members (2010-2013)
Atsufumi Ujiie, recorders and percussions.
Rana Shieh, kamancheh and fiddle.
José Manuel Fernández, recorders.
Kiriko Mori, soprano.
Úrsula San Cristóbal, recorders, performer.