Bravo Cura

Celebrating José Cura--Singer, Conductor, Director



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Great news out of Oman, where José Cura just finished his performance run in his iconic role of Canio in Pagliacci.  Congratulations for yet another job well done.

For the lucky Czech Republican fans, Maestro Cura will be back on the podium this week for two nights of music. 

We are still unpacking out Monte Carlo photos of Peter Grimes, so expect a couple more updates. 

Also coming up is a concert in Budapest featuring several of Cura's compositions.  That event sounds like a sure crowd-winner!

We will not be updating for the next two weekends due to family obligations.  We'll be back in April.


Current Performance:  Pagliacci in Oman







Enthusiasm in Oman for Pagliacci directed by Franco Zeffirelli


Enthusiastic applause from an international audience from all the Gulf countries welcomed the first performance of Ruggero Leoncavallo’s Pagliacci that the ensembles of the Teatro dell'Opera di Roma brought to the Royal Opera House in Muscat, Oman.

A success was due to the very effective union between the direction of Franco Zeffirelli and a musical contribution of great quality.  The cast was very important, led by an extraordinary José Cura, who had a personal triumph for Canio's passionate interpretation. 





































































Next Performance:  Prague Concert




Ticket Information




Congratulations to José Cura and FOK for their continuing partnership!



Peter Grimes





Note:  These are machine-based translations.  We offer them only a a general guide but they should not be considered definitive.


Peter Grimes, Monte Carlo, February 2018:  Co-produced with Bonn Opera, where it was presented in the spring of 2017 before moving to the Salle Garnier in Monte Carlo, José Cura’s reading of Britten’s Peter Grimes (Cura also sings the title role) is not limited to the salt spray and accursed solitude of the sailor.  The setting he designed does not deny the certain realistic pragmatism, enhanced by the dim lighting, [but doesn’t allow] this illustration to become overwhelming.  The rotation of the stage reveals different facets of the unique setting where the promontory of the lighthouse and the hut of the fisherman abut a low structure, serving in turn as a tavern or church, according to the scene, the sanctuaries for the borough, irritants for the harshness of Peter Grimes.  But the effectiveness of the staging serves as social illumination more so than the poetic abstraction to which some would be tempted to reduce the Britten work because of the evocation of the mystery of the seas. 

Even the restraint of the Prologue, during which Grimes appears alone in front of a blue-gray canvas like the sea under the moon and on which the shadows of the court are projected, the magistrates and townsfolk reduced to voices as in mental ruminations, shapes the premises of an interpretation; [the direction] is sensitive to the psychological complexity of the character and the situations that restores the dialectic between nature and society, at evidenced in both the score and the libretto.  It is not necessary to dispense with the letter to allow the spirit live.  No transposition, no alibi of modernity: Cura’s work focuses first on highlighting the incarnations.

In the title role, [Cura] defies any putative stylistic archetype, perhaps because of the non-concealable Latin characteristics of his vocality in which an emotionally physical engagement emerges.  His sincerity in the role exposes the ambivalence of this marginal man, brutal and skin-deep, rejected by the community, without yielding to some simplistic aggressive male pride.  José Cura undoubtedly constitutes the pivot around which the drama is articulated...  Anaclase, 28 February 2018, GC

Peter Grimes, Monte Carlo, February 2018:  After a series of sold-out performances at the Bonn opera (co-production), Peter Grimes premiered at the Salle Garnier on Friday, 23 February.  A “fascinating human adventure,” a director of the Monte Carlo Opera told us, as tenor José Cura, adored by the Monegasque opera scene, interpreted the title role while taking care of the staging, the sets, and the costumes:  the result was a pessimistic vision of a fishing village on the east coast of England that Dickens would not have rejected.

Within the prologue, the three acts and five luxurious musical interludes, it is necessary to retain an image of a triptych for this dark history:  in the first part, the dull omnipresence of the sea is always threating, literally a tempestuous, uninterrupted flow of notes—the winds and bass instruments placed to the right of the maestro—and superbly personified by the Monte Carlo Philharmonic Orchestra.  Then, the pre-eminence in the score, the polyphonies representing the devastating disaster of public opinion with striking interventions of the chorus of the Monte Carlo opera:  "Merciless tide, spare our shores," "The old Joe left with young Joe" or still more "Arrogant and proud, we will destroy" in Act III.  And finally, the subtle feminine character of Ellen Orford, a mixture of determination and empathy.  In the middle of this triangle:  a dark, irrepressibly reactive Peter Grimes.  


What to say about José Cura? Audience members commented that they were incredibly amazed by the new performance of the Argentinian already basking in the glow of his previous appearances on the Monegasque stage:  the now legendary Stiffelio in April 2013 and more recently but equally astonishing Tannhäuser.  When the talent of an operatic artist is able to arouse genuine emotion, his repertoire can leave Giuseppe Verdi and elegantly rub shoulders with Richard Wagner and then venture with unparalleled charm into contemporary theater.  From his impressive "Alone, Alone, Alone with the Dead Child" signifying his initial despair to his final "Here you are, nearly home" through his daydreaming "In dreams, I built myself some kindlier home" in the presence of his apprentice, José Cura impresses us by the irreproachable accuracy of his tone and forces admiration by the successful vocal and dramatic expression of this inner chaos, of this incapacitating psychological surge that finds its anchor only in death.  Musicologie, 24 February 2018


Peter Grimes, Monte Carlo, February 2018:  The Monte Carlo Opera presented the Britten's opera Peter Grimes whose insistent and oppressive intensity is perfectly rendered.

Peter Grimes, an opera created by Benjamin Britten in 1945, is one of the composer’s most powerful.  Dramatically, the tension never fades in the adventures of this cursed fisherman who sees two of his apprentices die in accidents: the more this anti-hero seeks to silence the gossip about him, the more he gives them credence.  Musically, the score remains hectic during two hour twenty minutes of music and offers absolutely dazzling ensembles and catchy soloists.

José Cura, both directing (in charge of sets and costumes with Silvia Collazuol , and lights with Benoît Vigan) and starring in the title role in this production, offered a classic and literal point of view on the work, whose purpose, still very modern, does not need updating to find echo today. The Prologue puts Grimes on the stage in front of a white curtain on which are projected the other characters in shadows.  The rest [of the action] takes place in a building doubling as the tavern and the church, above which looms a kind of lighthouse that serves as Grimes’ home.  Installed on a turntable to quickly vary its aspects, the concept worked perfectly.

The work offers a gallery of 12 solo characters, all with vocally complex parts, musically interesting and dramatically important.  At their head, José Cura offers an interpretation that embodied Peter Grimes.  His imposing and fluid voice is torn in the high-pitched notes when he approaches them from his chest voice, which reinforces the theatrical characterization of the character’s pain.  Conversely, high notes emitted in mixed voice are strong even though they may be more fragile, especially in the "Now the Great Bear and Pleiades" where the delicate beauty of the vocal line is paramount.  On the other hand, his voice gushes in the air during the drinking scene that follows, like a flash of lightning. Ôlyrix, 21 February 2018

Peter Grimes, Monte Carlo, February 2018:  To mount Peter Grimes is to question the inner drama:  is he a victim, an executioner, or both at the same time? In this new production at the Opéra de Monte Carlo, directed by star tenor José Cura, the first option prevails, with a choice of a powerful confrontation between the fisherman and the crowd, clusters of humans moving in beautifully orchestrated choreography.  Cura offers a traditional and realistic vision of the village (with the inn and church mentioned in the libretto) in the seaside town in Suffolk.  Although very present in the music, the sea is less so in the staging, although there is a boat and the many fishing nets that litter the ground at the opening of the curtain are then raised to be suspended in the flies.  Here they will stay for the duration of the show, before being reused for the last scene, when the nets come down little by little during the last chords, trapping all the inhabitants within the village.

Previously appearing last seasons in the opera house last year in Tannhäuser, the Argentine tenor embodies a Peter Grimes trapped in his internal prison.  With his massive body folded in on itself, his clumsy and brutal gestures, Cura’s Grimes in a ball of nerves ready to explode at any moment, evincing a physical impossibility to exist, to live.  He must be heard singing a capella, his eyes fixed and misted, suddenly fragile and ready to die.  What’s more, Cura displayed dazzling vocal health, be in in the middle or high register, modulating his instrument with ease, alternating sumptuous piannissimi with heroic power with a naturalness that commands admiration.  This new role is a good one to add to Cura’s incredible list of achievements….  Opera Online, 28 February 2018

Peter Grimes, Monte Carlo, February 2018:  Peter Grimes culminates in the creation of the last opera character, after Wozzeck or Lulu, to touch our sensibilities, to become a myth.  Grimes is indeed a man alone; arrayed before him are not just one or two or three characters but an entire village, the “borough” from the title of George Crabbe’s poem.

Peter Grimes is the story of this great tête-à-tête between a man and everyone else, with the sea invading everything, both the stage and the music. Sailors' songs and raging seas, storms, the cries of nature and elements, the call of the marginal man whom a woman will betray, the woman who is the only one who had helped him and who, with her confession “O! Peter! We have failed,“ both abandons and murders him.

A regular on the Monegasque scene and last year’s formidable Tannhäuser, José Cura designed, in co-production with the Opera of Bonn, this Peter Grimes.  The artist assumed a protean role, singing the title role, directing, setting the staging and designing the costumes.  He created a satisfying production because he understood the scope of the complex psychology inherent the role. The ensemble is encased in good-taste classicism, the movement of the crowd is natural without awkward poses, and the star tenor approaches the hero by giving him the nuances of a Lord Byron, a sort of an uncultivated intellectual who seems animated by a poetic gift.

Of an unusual physical strength, with a voice almost too beautiful for the role, between vulnerability and contradictions, we could imagine this Grimes wreaking havoc in an English port bar…an image rejected by the Argentine to remove ambiguity [and present] a man who had suffered.  With an imagination rich enough to inspire him with the desire to live in better conditions yet constantly facing frustrations, José Cura’s Grimes marvelously expresses the torments that tear at this solitary fisherman, favoring the figure of the hopeless, the enlightened poet (it is necessary to hear his hallucination in the song in the tavern) and a surly but touched lover.  Neither hero nor villain but doubtless subtlety disruptive…..






























Calendar 2018









Concert:  New Year




20, 23, 25, 28

Peter Grimes

Oper de Montecarlo

Monte Carlo







15, 17


Royal Opera House Muscat



21, 22

Concert: Debussy / Ravel

Smetana Hall Municipal House




Concert:  Cura Compositions

 Béla Bartók National Concert Hall




Carmen in Concert

 St Petersburg



Recital:  Argentinean Songs




 13, 14

Concert:  Aregntinean Songs/ Karlowicz 7th Symphony

Smetana Hall Municipal House



28, 29

Nabucco / Set Design / Stage Director

Prague National Theater




Concert:  Singer / Conductor (Open Air)






Music Pavillion



7, 12, 16, 19, 22, 28, 30

Cav / Pag -- José Cura Production (Liège)

War Memorial Opera House

San Francisco


21, 23

Fanciulla del west / Set Design, Stage Direction, Conductor

Tallinn Opera House




Concert:  Argentinean Songs / Dvorak 9th Symphony





Recital:  Argentinean Songs











Find Cura on Wikipedia!


Want to know more about José Cura?  Check out his Wikipedia page (click on the photo and find out such neat things as.....

  • Full name:  José Luis Victor Cura Gómez
  • First starring role:  Bibalo's Signorina Julia, Teatro Lirico Giuseppe Verdi, Trieste, Italy, 1993
  • First performance in US:  Giordano's Fedora, Chicago Lyric, USA, 1994



This page is an UNOFFICIAL fan page Mistakes found in these pages are our mistakes and our responsibility.   


This fan page is dedicated to promoting the artistry of  José Cura.  We are supported and encouraged by Cura fans from around the world:  without these wonderful people, we wouldn't be able to keep up with the extraordinary career of this fabulous musical talent. 


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Last Updated:  Sunday, March 18, 2018  © Copyright: Kira