Continuing the trend of works of art in churches set by Bill Viola’s Mary in St. Paul’s Cathedral and Ana Maria Pacheco’s installation at Chichester Cathedral, Brazilian artist Kim Poor’s exhibition The Shadow Of Angels opens at Wren’s masterpiece St. Stephen Walbrook on October 3rd with a fanfare of Art, Music and Ballet from 6.30pm. The Royal Ballet’s rising star Fernando Montaño will perform The Swan from Saint-Saens’ Carnival des Animaux to and around Henry Moore’s controversial altar, followed by a troupe led by Ballet Rambert’s Kirill Burlov. Expect to see top names from the worlds of art and music.
Kim Poor is a Brazilian painter based in London and Rio de Janeiro whose unique technique of glass fused on steel plate was baptised ‘Diaphanism’ by Salvador Dali. Her work has featured on record sleeves, in a book illustrating the lyrics of British rock band Genesis and has been exhibited worldwide including successful solo shows at the Museum of Modern Art in Rio de Janeiro and in São Paulo with her Legends of The Amazon multimedia show.
Her latest exhibition, The Shadow Of Angels, will open on 3rd October 2016 at one of Sir Christopher Wren’s most famous churches, St. Stephen Walbrook. Curated by art historian and critic Edward Lucie-Smith, it explores the mythology of angels, their universal appeal, their spirituality and presence in our lives. Their iconography is a unifying force throughout time and a connection in all religions and cultures. In these troubled times, angels represent our need for reassurance, an illusion or reality in a very unstable world. They can be our protectors, guides, messengers or the dark mirrored side of demons; a manifestation of life and death or the true bridge to the Divine.
Lucie-Smith comments … “The dreamlike quality of Kim Poor’s work aligns it with the Magic Realism which can be found in the work of great contemporary Latin American writers such as Gabriel Garcia Marquez, Mario Vargas Llosa and Isabel Allende.“
From 3rd to 29th October 2016 at St. Stephen Walbrook, City of London (weekdays 10.00am - 4.00pm, Wednesdays 11.00am - 3.00pm)..
During The Shadow of Angels, the “amazing, daring and magnetic artist” Claudio Crismani will also perform. Crismani will play Etudes Australes, First Book Nos. 1-8 by John Cage and Suite from The Bluebeard Castle by Béla Bartók at St Stephen Walbrook on Tuesday 25 October at 7:00 pm. Tickets are £15.00 from the Box Office at St Martin-in-the-Fields or on the door.
American critic John Maxim concluded his review on Music Life about Claudio Crismani’s concert dedicated to Scriabin’s music with those words. The music by Russian composer Alexander Scriabin has always been at the centre of Crismani’s artistic interests.
Crismani was born in Trieste and he began studying music with Andrea Giorgi as a young boy. Between Andro and Claudio a solid, lifelong fraternal friendship was built in time.
Crismani was born in Trieste and he began studying music with Andrea Giorgi as a young boy. Between Andro and Claudio a solid, lifelong fraternal friendship was built in time.
He continued studying piano with Alessandro Costantinides and composition with Mario Bugamelli, graduating with full marks at the Bolzano Conservatory. He then perfected his technique studying with Marguerite Kazuro in Warsaw for five years. His international career began in Paris in 1979 with a recital at the “Salle Pleyel” and a series of radio and tv recordings for “France Musique”. Since then he has performed all over Europe, Russia, Israel, USA, Japan and Australia and in the most distinguished concert halls. He has worked with directors such as James Lawrence Levine, Cristoph von Dohnányi and Thomas Sanderling and performed with internationally renowned orchestras, among which: The London Philharmonic Orchestra, The Philharmonia Orchestra, The European Community Chamber Orchestra, Les Solistes de Moscou, The Osaka Philharmonic Orchestra and The Israel Philharmonic Orchestra.
In 1986 Claudio Crismani was invited to celebrate the hundredth anniversary of Liszt’s death by performing twelve concerts in England and playing the complete “Années de Pèlerinage” and the transcriptions of Wagner’s operas. In 1987, UNESCO named him “European Artist” and invited him to perform at the “International Music Soiree” at the Palais des Congrès in Paris. That same year he was appointed “Guest Artist” of the Van Leer Foundation in Jerusalem and under this aegis he became co-founder of the Horowitz Festival. In the Nineties, he staged a three-evening performance of the complete Poems and Sonatas for piano by Scriabin, which was repeated several times in different countries. He had an exclusive record contract with RS for twelve years and won two Discographic Awards. This period was marked by an important collaboration and friendship with the great Russian pianist Lazar Berman.
His performance of Scriabin’s Concerto for Piano and Orchestra together with The London Philharmonic Orchestra, conducted by Thomas Sanderling and recorded live at the Royal Festival Hall in London, was a true publishing success story.
After a concert tour in 2002/2003 marking his thirtieth year of artistic activity (he was described as one of the major artists of his generation), Claudio Crismani decided to retire from the concert scene and devote himself exclusively to a long period of study. In 2014, he returned on the musical scene – among others – with “The Prometheus Project”, which is a transposition of Alexander Scriabin’s “Promethean” dream, designed to be a literary, artistic and (of course) musical experience. He rewrote it together with his friend Edward Lucie-Smith as a synesthetic blend, suspended between visual art and music, literature and history. Here, Pasternak and Scriabin intersect with contemporary traits, tracing a hitherto undescribed randomness of real-life moments spanning from Russia to Trieste and present and future human relations developing between Trieste and London.
In 2015, Claudio Crismani returned on the international scene at the exhibition on Boris Pasternak: “la Genesi del Sogno” (The Genesis of the Dream). The event highlighted artworks by Oleg Kudryashov, photographs by Moisei Nappelbaum and Crismani’s concert (performed strictly on a Fazioli piano) at the Teatro Verdi in Trieste, and repeated in 2016 in Cividale del Friuli with a tribute to Boulez.
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After a concert tour in 2002/2003 marking his thirtieth year of artistic activity (he was described as one of the major artists of his generation), Claudio Crismani decided to retire from the concert scene and devote himself exclusively to a long period of study. In 2014, he returned on the musical scene – among others – with “The Prometheus Project”, which is a transposition of Alexander Scriabin’s “Promethean” dream, designed to be a literary, artistic and (of course) musical experience. He rewrote it together with his friend Edward Lucie-Smith as a synesthetic blend, suspended between visual art and music, literature and history. Here, Pasternak and Scriabin intersect with contemporary traits, tracing a hitherto undescribed randomness of real-life moments spanning from Russia to Trieste and present and future human relations developing between Trieste and London.
In 2015, Claudio Crismani returned on the international scene at the exhibition on Boris Pasternak: “la Genesi del Sogno” (The Genesis of the Dream). The event highlighted artworks by Oleg Kudryashov, photographs by Moisei Nappelbaum and Crismani’s concert (performed strictly on a Fazioli piano) at the Teatro Verdi in Trieste, and repeated in 2016 in Cividale del Friuli with a tribute to Boulez.
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Claudio Crismani plays Béla Bartók.
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