Bravo Cura

Celebrating José Cura--Singer, Conductor, Director


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(many are not populated yet)





This week: 

Now available:  José Cura on iTunes--if you like what you hear, please write a positive review!

Coming in April:  Otello from the Salzburg Festival

Final installation:  Prague Ecce Homo Concert


Rehearsal photos

Interview photos / translation (computer based)

Performance photos

Post performance photos


Next Performance:  Peter Grimes, Bonn

José Cura // Director // Tenor



Now Available!  José Cura on iTunes



Coming April 2017!












Click on the above photo to watch a rehearsal snippet from Czech Republic....



Click on the above photo to watch an interview snippet from Czech Republic....















































Note:  This is a machine-based translation.

José Cura uses language with precision and purpose;  the computer does not.  

We offer it only a a general guide to the conversation and the ideas exchanged but the following should not be considered definitive.



José Cura will sing Christ in his own oratorio Ecce Homo in Prague



28 February 2017


The Prague Symphony Orchestra subscription concerts on 8 and 9 March will be building on cooperation with its residential artist José Cura.  On the stage of the Smetana Hall in the Municipal House Cura will perform during the concert as a singer, a conductor, and a composer.  In the world premiere of his oratorio Ecce Homo, he will sing the central role of Christ and then will conduct the rest of the program, which includes Erik Satie’s Gymnopédie and Ottorino Respighi’s Church Windows.

“Ecce Homo is nothing unusual—there are many pieces based on the theme of the last moments of Jesus Christ, some of them are legendary and unattainable.  It is, however, an original composition in how it uses some parts of the Bible, such as the Psalms and Stabat Mater, which I wrote in 1982—in conjunction with a theatrical performance of the passion of Christ.  Musically and dramatically Ecce Homo combines the religious introspection of the crowds with their pagan irreverence with scenes of Christ, who expresses realistically the range between the mystical depth and physical symptoms of hopelessness matching his human existence,” said Cura.   

The baton for the oratorio will be taken by Mario de Rose, an Argentine conductor, who is the musical director of the South Bohemian Theater.  Solo parts (in addition to Cura) include four Czech singers, Lucie Silkenová, Sylva Čmugrová Ales Voráček and Jaromir Nosek.  Following past collaboration the children's choir Jitro Hradec Kralove and Prague Philharmonic Choir will join with Cura.

“Ecce Homo, or Behold the Man, is a famous scene from the life of Jesus Christ and has inspired many painters, such as Hieronymus Bosch, Caravaggio, Albrecht Dürer, Titian and James Ensor.  With each artist, it is a different concept.  In March 2017 we discover the concept chosen by José Cura, who will also assume the role of Christ, in his oratorio Ecce homo,”said the program concert dramaturge Martin Rudovský.











Click on the article above to listen to the interview (in Spanish)




Note:  This is a machine-based translation.

José Cura uses language with precision and purpose;  the computer does not.  

We offer it only a a general guide to the conversation and the ideas exchanged but the following should not be considered definitive.



José Cura Premieres in Prague 'Ecce Homo', a Wonderfully Human Oratory

Radio Prague

Freddy Valverde

14 March 2017


 The Argentine composer, director and tenor José Cura will offer the world premiere of his oratorio Ecce Homo next Wednesday in Prague.  The multifaceted artist spoke in advance to Radio Prague of the keys to this work, his relationship with the Czech Republic, and the challenges facing humanity.

Cura maintains a close relationship with the country.  From his first concert with the Symphony Orchestra of Prague (FOK) 15 years ago, the link has remained, grown and strengthened.  One example of this, for example, comes next Wednesday in the Municipal House of Prague with the world premiere of his oratorio Ecce Homo.

“The relationship I have as a resident artist of the Orchestra (FOK) implies that among other things in our agreement, an annual debut of one of my works.  Last year, I presented the Magnificat and this year Ecce Homo, which is a bigger, more important work.  Magnificat is 12 or 13 minutes long, while Ecce Homo is an oratorio, not yet debuted but with the estimated duration that will be around 35 or 40 minutes.”

The theme chosen for this oratory has always fascinated Cura, he revealed.

“The work was born from a curiosity of mine.  Sometimes I have these discussions with my group, with my wife, the neighborhood priest…and it is the “human” factor in the relationship with the divine.  One of the things that has always touched me, which has attracted my attention the most, from the life of Christ and his last hours is the human dimension of the Christ who on the Mount of Olives says, “Father, take this away from me.” And that would be completely normal in any neighbor’s son, because any of us would have said the same thing:  I do not want to be beaten.  It is something surprisingly and wonderfully human applied to a being whom we believe to be the son of God.”

Cura’s Ecce Homo oratorio was kept in a drawer for many years.  He was in the process of maturing, as indicated by the composer.  The first version was written in his twenties, revised with a magnifying glass and now premiers in Prague.

“If there is a single novelty in Ecce Homo, it is to have inserted two themes that musically, not theologically, are usually separated.  It is the passion on the one hand and the Stabat Mater on the other.  That is, it is the pain of the child on the one hand and the pain of the mother on the other, putting them together in the same work.”

 José Cura and Antonín Dvorák, a surprise to come

The good chemistry that exists between José Cura and the Czech Republic has manifested itself in many occasions and in different ways.  In addition to the world premiere of his oratorio Ecce Homo, he has a surprise for his Czech fans.

“We have just signed a distribution agreement with iTune and will soon be releasing some songs from Dvořák that I recorded about 15 years ago and that never went out to the public, because they were a private collection, so these songs will come out shortly on iTunes.  And by following my (web) pages people will know [when it happens].  It comes up because it is the first and last time in my life that I sang in Czech, and I still remember my struggle to do justice to that beautiful music in a completely foreign language.  I remember a moment in which I told the person who was assisting me with the language: see, in this word I have to sing four notes and there are only two vowels, or I lack something or I have something left over.  Because the rest are all consonants, and no Latin can sing a consonant.  Well, the answer was very simple: sing the consonants and walks.”

Changed the piano for rugby

José Cura’s walk for what he calls this beautiful madness began at an early age with the most diverse nuances.  Originally, he was inclined toward sport, which in the end represented an important contribution to his artistic career.

"When I was 7 or 8 years old my father told me to study piano.  At that time we had to study piano, we are talking about the 60's, coming to the 70's, my father played the piano as the son of a good middle-class family at the time.  That gave it cache.  And after a few days, a few lessons, the teacher sent me back home with a note that said: Josecito is not interested in music, find him another hobby.  And it was then that I started playing rugby, you see the connection of ideas, which had nothing to do.  They were fundamental to the way I faced my career as a man of the stage.  At that time it was a novelty: the athletic man who sang opera was a rare animal.”

The concerns of the Argentine artist are numerous.  There is nothing that happens to humans to which he is indifferent.

“Humans, to begin with, are all unique, what happens is that now--it has always been like this--more than ever we are so stunned by overcrowding, by globalization and all these horrendous '-tions' that are destroying the identity of the people. Now everyone dresses the same, eats the same, listens to the same music, smells the same, walks the same.  This is good?  No. Is this bad?  No.  It is a pity.  Point!  Is a pity, because it is impoverishing us as a genre, as individuals."

We all have the gifts of God

The positive energy that Cura brings to the stage fully corresponds with his creed of life, with his total commitment to art as a vehicle of communication.

"I have a theory that I have already stated several times.  And I think for those who understand me, it is the explanation of everything.  I believe that all of us have been blessed with certain gifts, no more or less.  I think really all of us have the same amount but what happens is that not all of us have the same ability to discover them.  If you have luck or if you have misfortune, or if you are an introvert, discover what you are capable of and then you have two choices in life:  hide them or show all you can do.  If you hide them, then you have to deal with God who will ask you after all I gave you, what did you did with it?  If you do not hide (the gifts) the sticks will come from your fellow men.  I think that the clubs will be there anyway so it will be better to come from your fellow men, because those of God hurt more."

If you enjoy it, do not be shy, cry scream and kick

The passion, the delivery of Cura for opera and classical music was crowned in Prague, where he told us he received one of his greatest compliments.

“People don’t care if opera costs five euros or ten.  If what you are going to see on stage really excites you, you will pay ten or even twenty.  The problem is not that, the problem is what is put on the stage.  One of the most beautiful compliments I have received as a conductor came from Prague a few months ago on the occasion of my last concert.  Someone wrote on social media. "Seeing Cura on the stage with the Prague Symphony Orchestra (FOK) reminded me of Bernstein's concerts, in which one had the absolute clear conviction that the orchestra played for him and he directed for them.  What was happening here was a love story, which we were fortunate enough to attend and observe…"

On the eternal controversy of bringing opera to the people or not, the Argentinean has a firm and direct recipe that break many of the canons imposed by some sectors of the music world.

“What is opera and classic music to people.  Going to a stage full of dirt and telling people “do not clap between movements, because this is classical music, silence,’ or if the people get excited between the allegro and the adagio, okay the same.  To bring opera to the people, let the people manifest, emote freely.  Classical concert where you can feel the people excited but don’t cry because the person next to them will think they are being corny, but why…Cry, kick, scream, get up and shout bravo.  Who cares?  No, classical music must not be interrupted….Please.”

With 40 years on the stage, the Argentine director, composer and tenor José Cura will offer once again to the Czech public his artistic talent to which he delivers body and soul.











Calendar 2017








28, 31

La Bohème (production)




4, 7, 10, 16, 19

La Bohème (production)




19, 22, 25, 28


Salle Garnier Opera de Monte Carlo

Monte Carlo


8, 9

Concert:  Symphonic

(Ecco Homo)

Smetana Hall Municipal House



7, 10, 13, 26 

Peter Grimes

Theater Bonn



3, 7, 9, 12, 14

La Bohème (production)




16, 20, 22, 25, 27, 29


Opera royal de Wallonie



8, 15 

Peter Grimes

Theater Bonn



4, 5

Concert:  Symphonic

Smetana Hall Municipal House



13, 14

Concert:  Symphonic

Smetana Hall Municipal House









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



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Last Updated:  Sunday, March 26, 2017  © Copyright: Kira