In 2007, Teatro Colón was closed while it was refurbished;  as a result, the Samson et Dalila performances were held as concert productions at Teatro Coliseo.  While not an optimum singing environment, José Cura lifted the staging to a different level with his remarkable charisma and singing.

Samson et Dalila in Concert, Buenos Aires, June 2007: “The absence of a full staging leaves the voice as principal, though not the only tool to feel each of the multiple states of mind. And in this sense Cura surpassed the others with his brilliance. Flirting with some overacting but never actually doing it, Cura applied an infinite number of vocal devices to his singing, with overwhelming artistic excellence. Thus, Samson sighs agonizingly in the lamentation of the third act and his singing is perfectly audible and touching, he harangues the Hebrews almost like a Wagnerian tenor or demonstrates all his doubts in front of the lurking Dalila with an inevitable musical conviction. The first delights came when the choir, prepared by Salvatore Caputo, began from an imperceptible, perfectly tuned pianissimo, and advanced in increasing volume and intentions to build a fugue shaped with enough freedom by Saint-Saëns to allow the Hebrew slaves to sing of their despair. And when from the center of the choir, hidden among so many dark clothing, there arose the powerful, overwhelming and magnificent voice of José Cura, there followed astonishment, fascination and wonder.”  La Nacion, 25 June 2007

Samson et Dalila in Concert, Buenos Aires, June 2007:  “[T]he most significant aspect in this case didn’t seem to be the general concept but the expressive determination of tenor José Cura, overwhelming even when not “acting.” Cura established the drama from the “get go”, when he appeared in the middle of the choir and began to address his people simply with a look. It was evident that the limitation of the staging reflected even greater significance on the most minor inflection. Cura admirably personifies his role, as much through his acting as through his vocals. His line of singing is luscious, without cracks in the heroic registry in the first, as in the more lyrical of the second or in the whispered and broken of the third.”  Clarin, 25 June 2007

Samson et Dalila in Concert, Buenos Aires, June 2007:  “As to José Cura, he convinced me by the end of the performance. After a start in which he offered a very personal interpretation, one that continued until the beginning of the third act, he made a turn and frankly managed to convince me totally as an actor and as well as with his vocal delivery, emphatically projecting the drama to come and the fate of Samson and this is where I point out that without a doubt the first (two) acts are more José Cura than Samson but the third is Samson winning over José Cura and that is the key to his triumph.”  La Opera BuenAyre, August 2007

Samson et Dalila in Concert, Buenos Aires, June 2007:  “If a musical event depends on the presence of a great artist on stage, that is what happened with Camille Saint-Saëns’ Samson et Dalila. The tenor José Cura, in the main role of this masterpiece of French opera, was incomparable. His vocal qualities are exceptional, his musicality ideal and the force of his delivery impressive. To this it is necessary to add his charisma. Samson has an ideal interpreter in Cura and this was demonstrated in the concert version in the Teatro Coliseo. It was not a concert in the traditional sense, but a ‘staging within a space,” as it was called, that reflected Cura’s lack of inhibition and his unconventional approach. Cura was the pillar of this Samson and Dalila.”  Ambitoweb, 25 June 2007

Samson et Dalila in Concert, Buenos Aires, June 2007:  “In the remarkable opening performance of this concert version programmed by Teatro Colón, José Cura, stunning vocally and also profoundly convincing as an actor, clearly demonstrated the significance of space in heightening the dramatic effect from the start in his manner of interacting with the chorus. With powerful yet subtle voice, Cura took delight in the pianissimos, in lightening the voice, and even in groaning. His character literally took body and his voice became part of that body.”   Pagina/12, 25 June 2007

Samson et Dalila in Concert, Buenos Aires, June 2007:  “José Cura as Samson was impressive. From the initial scene, in which he emerges from the rows of the choir, his volume and commitment were captivating. In the first act he favored the use of subtlety, in the second he shaded his expressiveness to show his love, and he reached his best moments in the beginning of the third act with his concentrated painful expression and singing in a highly pleasing mezzo voce. It is possible to agree or not with his way of expressing and with some of the tricks of a singer with such solid experience but it is impossible to stay indifferent to his singing and artistic expression.’  MundoClasico, June 2007

Samson et Dalila in Concert, Buenos Aires, June 2007:  “The indisputable star of the night was José Cura. From his initial appearance, almost magical, materializing in the middle of the chorus, singing as he came down the stairs to the edge of the stage, the adrenaline raced through the auditorium. His voice sounded marvelous, with excellent volume, beautiful timber—almost baritonal—the particular emphasis he put on his statements and the incredible array of vocal resources that he used. And his work as an actor carried his unmistakable stamp. Samson seems to fit him like a ring on a finger. The quality of his contribution did not waiver through the performance and he received a well-deserved ovation. Cura really is a Divo, with all this word implies. Everything with him is grandiloquent but without doubt he is one of those singers for whom every phrase, every sound he emits has a special value, a bonus.”  Canto, August 2007

Samson et Dalila in Concert, Buenos Aires, June 2007: “The possessor of significant volume, solidly dramatic, the Rosarino tenor arrives in the middle of a career that has taken him to the most distinguished international stages. And this is certainly absolutely justified, based on the qualities he demonstrated in his performance in the concert version of this most beautiful work, so rich and harmoniously creative, Samson et Dalila. Cura (Samson) highlighted a powerful dark tone, full of color, very supple in nuances, completely homogeneous and expressed with astonishing naturalness. And though conceptually he exaggerated somewhat his rage and the vocal contrasts of the characters (he is brave and strong in the first act…blind, weak and reduced to servitude in the last), his work showed without doubt that he is one of the principal singers of the world at the moment.”  La Prensa, 25 June 2007 

Samson et Dalila in Concert, Buenos Aires, June 2007: “José Cura, in the role that perfectly suits his histrionics on stage and which he was profusely and brilliantly represented, had to adapt to [the concert platform]. Undoubtedly, he maintains his charisma intact, his voice powerful, and his interpretation of this Judge of Israel converted in a warrior leader looking for his people's freedom is simply magnificent.”  Ópera Actual, September 2007

José Cura

Para Ti

Julieta Mortati

10 July 2007

[Computer-assisted Translation // Excerpts]

“There's classical music that's a bore and popular music that's brilliant."

 The renowned Argentine tenor, based in Madrid, starred in the opera Samson et Dalila at the Teatro Coliseo in Buenos Aires. In a conversation with Para Ti, he explained that he studied music, martial arts, and even took bodybuilding classes to survive. He began singing at age 27 because "I discovered that with my voice I could pay my bills." He is considered one of the best voices around the world for his interpretive quality.

José Cura (44) traveled to Argentina to be present at his parents' golden wedding anniversary (the celebration is on Saturday, 7 July in Rosario, his hometown). He was accompanied by his wife, Silvia, and his three children: José (19), Yazmín (14), and Nicolás (11). His visit, initially secret, soon became known, and the family plan was interrupted by five performances of Samson et Dalila (by Camille Saint-Saëns) in the Teatro Coliseo, with the artistic staff of the Teatro Colón, in Rosario with the celebration of the 50th anniversary of the Monument to the Flag and with a chamber concert commemorating the 25th anniversary of the Mozarteum, where he will give the world premiere of the cycle Sonnets (on July 8), composed of seven pieces based on poetry by Pablo Neruda. In his last week in the country, he walked around with dark circles under his eyes and a runny nose. "On stage, it's freezing," Cura says about the Teatro Coliseo, "and it's not just the cold, there's even wind! Yesterday my shirt was flying off, and the choir boys were on stage wearing scarves and shawls. We held on, but in the end, my body said 'enough.'"

What did it mean to sing in Buenos Aires?

“Well, singing for your people and your family isn't the same as singing for people you respect because they're your audience but you don't know them; you don't know who's on the other side of the lights. When you sing in your home country, you know that there are people in the audience who knew you from your childhood.”

During his childhood, Cura learned to play the piano intuitively, watching his father play Beethoven and Chopin at home. He later studied guitar, composition, and piano, and enrolled in the School of Art at the University of Rosario. At the age of 12, he began conducting choirs and orchestras. In between, he specialized in martial arts and played rugby. At 27, he began singing.

“Singing appears quite a bit later in my musical career. I discovered I had a voice and at first, the investment very logical: with this voice, I'd be able to eat and feed my family more easily than with songwriting. As harsh as it may sound, I got into singing for purely economic reasons,” he admits, explaining: “Then, what started as a blind date ended up in a lifelong relationship, but at first, I thought I'd sing for a few years to make ends meet, save some money and pay for my house. Eventually, it became a full-time profession that transformed me into who I am. There's a thing called 'destiny' and things just happened the way they were supposed to happen. I can't complain.”

And when things went wrong, he didn't complain either. In 1983, he wanted to enter the Teatro Colón, and a teacher told him during an audition: “You don't sing, you shout.” He then taught tae kwon do and bodybuilding classes and worked in a hardware store. In 1990, he auditioned again at the Colón University and was finally accepted.  He decided instead to go to Europe. With his wife—whom he met when he was 16—and José, his first son, Cura took a Pan Am flight to Milan.

A stubborn man…

“I was always very stubborn. Like children, who every time they get up in the morning no longer care about anything that happened the day before and just go out to play again. I think that's how it is. I was convinced that I had something to say, that I was ready to say it, and that I would keep going until someone finally listened to what I had to say, and that someone would pass it on to others. It's being eternally a child despite all the mistakes and setbacks. It’s what makes you want to keep going.”

In 1995, he won the Operalia competition, chaired by Plácido Domingo, and gradually became one of the most prestigious tenors in the world, praised by critics for his performance quality. A year later, he debuted as Samson at the Royal Opera House in London, a role he continues to perform to this day and for which he received the Orphée d'Or and Echo Klassik awards.

–How important is it for you to perform Samson et Dalila?

–One of the most touching things about opera is its relevance. Just as 1,500 years before Christ people killed in the name of God, the same thing is happening 3,500 years later. Human beings still lack the courage to take responsibility for their own mistakes or successes. If we need to kill, we blame others, and if we kill in the name of God, all the better, because no one can rant or say anything to him.

–And personally?

–This opera has a particular aura because it's accompanied me practically throughout my entire career. I've worked it out, studied it, thoroughly studied it, and thoroughly sung it. The character is the same in every work; the equation is different. Each performance is like an act of love, a sexual act, and the audience in front of you is your partner in that moment. And they have to ask themselves: "How much did I give to the artist?" The difference between an audience that surrenders to the artist and one that doesn't is enormous. It's like making love to the person you love or doing it with a plastic doll.

- I have a particular affection for this opera because it has accompanied me practically throughout my career. I have it very done, very chewed, very studied and very sung. Each performance is like an act of love, a sexual act, and the audience in front of you is your partner at that moment. And they have to ask themselves: “How much did I give to the artist? The difference between an audience that gives itself to the artist and one that doesn't is enormous. It's like making love with the person you love and doing it with a plastic doll.

-How do you prepare for a performance?

-The voice works like a model's face. When you plan to do a photo session, you try to sleep as much as possible to look as “wrinkle free” as possible. And on the day of the performance, a singer tries to rest as much as possible so that the voice is as fresh as possible.  That’s ideal.

–Why did you stay in Europe?

–I like Madrid. We have a beautiful house where I am able to indulge in all the things I’ve wanted to indulge all my life, all my whims.

– Divo tasts?  Eccentricities?

–I have no eccentricities. But I do indulge myself the way I want. I have my wine cellar at home, a ton of wines I'm collecting. I have my pool, a gym, things I've always wanted to have and in the way we like best.

He confesses that when he's alone at home, he prefers to enjoy the silence and that he never sings in the shower. He likes shopping, cooking, and drinking wine.

–You also like photography.

–Yes, I love it, and now we're negotiating my first photography book with a Swiss publisher. I like photojournalism, not posed photography, going out on the street with my camera to gather stories from all over the world. I like to grab my camera and get lost. I've been in rough neighborhoods and have had to be rescued from difficult situations more than once. I love getting to know the true face of the people.

–Opera is considered elite. Is there anything about that that bothers you?

–There's always been talk of the elite but anywhere in the world, a ticket to hear opera costs less than a ticket to a stadium. For many years there was a trend: people who liked classical music wanted to feel more exclusive.  That's stupid because the music was written by composers for everyone. This tendency to deify them is a fad from the early 20th century, when these divisions were created for the same purposes that all divisions are created for: "Divide and conquer." When in reality, there is good music and there is bad music. There is classical music that is boring and popular music that is brilliant.

Samson was a terrorist

Clarin

22 June 2007

Sandra de la Fuente

José Cura, the Return of the Prodigal Son

La Nacion

Cecilia Scalisi

22 June 2007

[Computer-assisted Translation // Excerpt]

One of the highlights of Buenos Aires' current classical programming is, without a doubt, the return to the country, after an eight-year absence, of one of its prodigal sons: the Rosario-born tenor José Cura. Having lived in Europe for 16 years (currently in Spain), his name is synonymous with success for dramatic roles in the operatic repertoire. This naturally makes him one of the most sought-after tenors in the world and one of the most popular figures in his field. And it's no wonder when, in addition to a phenomenal voice, José Cura boasts the appropriate physical presence for these types of roles and an exceptionally complete and multifaceted professional background. The arrival in Buenos Aires of one of the most dazzling stars of international opera will mark the Teatro Colón's season with the stamp of the best in the world of opera, in a role tailor-made for him: the character of Samson, in the romantic opera Samson et Dalila by Camille Saint-Saëns. In a concert version, together with Cecilia Díaz, the cast, choir, and orchestra of the Teatro Colón, the tenor will perform tomorrow at 8:30 p.m. at the Coliseum.

The titan of the Opera

In his fifteen years of successful international career, José Cura has not only frequented the most prestigious halls and theaters of the classical world (Met, Covent Garden, La Scala, Opera National de Paris, Staatsoper of Vienna, Hamburg and Zurich, Deutsche Oper Berlin, among others), but has also visited countries far from the traditional circuit, conquered exotic audiences for opera and tirelessly took the art of music and theater to unthinkable corners of the world.  The most glamorous divas sing at his side and the most famous conductors have directed for him.  Parallel to this intense activity in the theater (as an orchestra conductor, singer and régisseur), he exploits with surprising ease his broad qualities of communicator and showman, offering recitals and shows—some of them on open air stages for thousands of people—in which he has combined singing with orchestral direction (in an original format that he himself called "half and half"), which has earned him both the criticism of the most conservative sectors of the musical medium and the admiration of his audience—and an unusual popularity for an artist of the classical world.

When José Cura began to be mentioned on the covers of the world's musical publications, the figure of the legendary Samson was one of the most immediate and appropriate references associated with the name and image of the Argentine tenor. Not only because of the qualities of the timbre and the character of his voice but also the exuberance of his personality, the charisma and imposing stage presence announced that Cura would be (among other great characters that he embodied with equal empathy, such as Otello, Canio, Don Carlo) the ideal interpreter of the biblical hero for several generations. Since then, years have passed and, unlike what often happens with careers that happen too quickly and with excessive grandiloquence are launched and ended in the media frenzy, all the forecasts that accompanied the spectacular international emergence of José Cura have materialized into a career beyond measure. In the following interview, the tenor refers to various interpretive aspects of Samson's role.

CS:  - How is the voice classified for Samson, in reference to the traditional classifications?

JC:  - If one wanted to interpret Samson in the spirit of what is strictly understood historically as the stylization of French music, we would have to start with a voice that isn't so much light as a voice with much less attack.  It would require very different to approach singing the role as it was conceived in 1890.  If we want, instead, to interpret a contemporary Samson, in light of the acoustic challenges we now face, the difference in vocal concept is enormous.  Rather than assigning the role to a classification based on the number of decibels produced, I prefer to think of it based on psychological color, which is a determining factor in the character's profile.

CS:  - What are those acoustic challenges?

JC:  - First, the size of the theaters, which are enormous today. Then, there is the fact that the orchestras sound very heavy because of the harmonic density of modern instruments. A third, more dramatic point is the rise in pitch.  Most of the operas that we interpret today were written between 1800 and 1900.  At that time, the pitch oscillated between 432 and 435 cycles, which means that compared to the pitch we use today, which is almost 445 and even 450 cycles, we have a rise of a third of a tone and even a half tone.  In short, this has caused a significant change in the way we sing compared to the past.  The logic of these conditions means that the vocal quality of certain dramatic characters is assigned to much more robust and harsh voices.

CS: - Regarding the tessitura in which Samson is written, for a dark, baritone tenor who sings almost the entire opera in the mid-low register. How do you resolve the arrival of the high note above the orchestra and chorus?

JC: - With a high note that's very thick, broad, and grand. We're talking about a mythological hero whose entire legend is based on physical power, so it would be ridiculous for the character to sing those notes with the same acoustic presence as, for example, a high note from the tenor in La bohème. No matter how beautiful and accurate the sound, it would lack dramatic intensity. That's the great vocal challenge of Samson, and of dramatic tenor roles in general.

 CS: - What is your perception of the character in relation to vocal brilliance?

JC:  - Samson has very defined moments in which he can shine for different reasons. In the first act, he is an aggressive character, an Old Testament warrior. In the second act, his aggression transforms into sensuality and extreme insecurity in his relationship with himself, with God, and with the feminine. In the third act, which is spiritually the most interesting, Samson redefines himself. Throughout the first part of that act, Samson should sing in a half-voice. In the second, however, we have another kind of singing. It is the instance of redemption understood within the framework of a culture located 1,500 years before Christ. The possibilities for performance are broad and diverse.

CS: - Does this role give you satisfaction?

JC: - Very much! Samson is one of the roles to which I owe the most success on stage. It is one of the characters that has given me the greatest satisfaction throughout my career.