Bravo Cura

Celebrating José Cura--Singer, Conductor, Director

 

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(many are not populated yet)

 

 


 

OK, we have more Otello photos--first half of Act II. 

 

This was just an extraordinary series of performances, really performances that belong in the annals of great Otello performances in modern history and we are so lucky that the theater decided to record it for posterity. 

 

We are so happy we were able to see it.

 

José Cura remains at the height of his creative performance abilities;  both his voice and his stage comportment are second to none.  How I wish he would come to this side of the Atlantic for a set of performances but... alas!

 

A note about color:  the make-up used on Otello seemed to vary in darkness depending on the night, with the video recording evening seeing Otello made up in very dark face.  As a result, the color shade on the photos may vary.  (Also, lighting and angles come into play....)

 


 

New Performance Dates

December

5, 10, 13. 16

Andrea Chénier

Teatro Colón

Buenos Aires

http://www.teatrocolon.org.ar/en/the-theatre

 

Tickets

 

Important note:  José Cura performs only 5, 10, 13, and 16 July. 

Second cast performs 9 and 12 December.


Otello

Otello, Liège, June 2017:  “It was not for the staging that we made the trip but for the title role, here embodied by the famous Argentine tenor José Cura, also heard at the beginning of the season in Turandot.  We cannot forget, as the curtain came down, the exemplary nuances of the whispered death.  And with the exception of a curiously negotiated “Exultate!” Cura displayed the vocal form that has not been heard from him since the time of early splendor (i.e., in the early 2000s when we heard him in the same part in Barcelona’s Liceu), and thus he remains one of the most idiomatic interpreters of the role today—and to speak frankly, and immense Otello, even more so Jonas Kaufmann did not seem to have fully convinced at ROH….” Opera Online, June 2017, Emmanuel Andrieu

 

Otello, Liège, June 2017:  “With all the recent excited anticipation of the role debut of a certain German tenor in London, it was still a revelation to hear once again José Cura in this most demanding of Verdi roles, which he has been singing for twenty years. He is a singer who has never been content to rely on a safe number of familiar parts, and this year alone he has sung Tannhäuser in French, and produced, designed and taken the lead in Peter Grimes. The psychological and vocal demand of the latter came to mind when he sang “Già la pleiade ardente in mar discende”. In Shakespeare's original, Othello says “for that I am declined into the vale of years,” and Cura, with his leonine mane of grey hair and grizzled beard, looked every inch the mature military leader, commanding of stature and profile.  At the Opéra Royal de Wallonie-Liège, Cura's powerful spinto tenor immediately impressed with his opening “Esultate!” and left no doubt as to his authority in his masterful delivery of “Abbasso le spade!” in his quelling of the drunken Act 1 riot. With his years of experience, less becomes more. The waywardness of pitch and rhythm of earlier days are gone, and his sable dark resonant lower voice brought both exotic otherness and passion to the love duet. As Iago's poison took hold, Cura's imperious dignity and self-possession crumbled with lightning flashes of rage in his eyes. Encompassing dynamic vocal extremes, his subtle inwardness from “Ora e per sempre addio” and a grave sotto voce, almost muffled “Dio! mi potevi scagliar” through to a nobly pathetic “Niun mi tema” this was the tragic fall of a flawed hero on a Shakespearean scale.  The compelling strengths of Cura and the ensemble made for a moving evening, more so than the recent stellar event in London.“  Bachtrack, 30 June 2017, John Johnston

 

 

Act II

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Curtain Call

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Backstage

 

 

 

 

 


 

 

 

 


 

 

Calendar 2017

 

Month

Dates

Work

Theater

City

January

28, 31

La Bohème (production)

RSO

http://www.operan.se/in-english/

Stockholm

February

4, 7, 10, 16, 19

La Bohème (production)

RSO

http://www.operan.se/in-english/

Stockholm

 February

19, 22, 25, 28

Tannhäuser

Salle Garnier Opera de Monte Carlo

Monte Carlo

 March

8, 9

Concert:  Symphonic

(Ecco Homo)

Smetana Hall Municipal House

www.fok.cz        www.obecnidum.cz

Prague

 May

7, 10, 13, 26 

Peter Grimes (tenor, director, stage design)

Theater Bonn

Bonn

June

3, 7, 9, 12, 14

La Bohème (production)

RSO

http://www.operan.se/in-english/

Stockholm

June

16, 20, 22, 25, 27, 29

Otello

Opera royal de Wallonie 

www.operaliege.be

Liege

July

8, 15 

Peter Grimes

Theater Bonn

Bonn

 October

4, 5

Concert:  Symphonic

Smetana Hall Municipal House

www.fok.cz        www.obecnidum.cz

Prague

December

5, 10, 13. 16

Andrea Chénier

Teatro Colón

http://www.teatrocolon.org.ar/en/the-theatre

Buenos Aires

 

Resources

 

 

 

 

 

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. 

 

If you have something concerning Mr. Cura you would like to share, contact me at bravocura@cox.net

 

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Last Updated:  Sunday, July 16, 2017  © Copyright: Kira