Concerts 2005

Cologne Concert with Anna Netrebko, April 2005: ‘In other places, Rolando Villazón and Ramón Vargas; in Cologne, the Argentinean José Cura, a tenor whose voice oozes sensuality. With glowing baritonal colouring, fantastically secure height, and personal nonchalance, he indeed follows as Otello in the footsteps of Domingo. And with 'fire-crackers' like the Pagliacci aria or Puccini's Nessun dorma, he threatened to upstage the Russian. Art turned into pure event.’ Aachener-Zeitung

Cologne Concert with Anna Netrebko, April 2005: ‘Netrebko and Cura were able to captivate and win over the audience--which only really warmed up and became enthusiastic after the intermission--and reap standing ovations. On one occasion after the intermission, the charismatic Argentine even stole the show from the Russian with his tenoral vocal explosiveness.’ Nachrichten

Cologne Concert with Anna Netrebko, April 2005: ‘The charismatic Argentinean stole the show from the almost too modest Russian after the intermission with tenor vocal explosions, but in return received a particularly warm embrace of the beautiful Anna, probably envied by all the men in the vast arena.’ Frankfurter Neue Presse

Cologne Concert with Anna Netrebko, April 2005: ‘At some point, it seems, Rodolfo's come-on to Mimi becomes too much: Anna Netrebko gently rejects José Cura's advances to get through with her part in the duet from La Bohème undisturbed. The other's expression signals forlorn resignation - which in turn provokes suppressed fit of laughter from the beautiful soprano. Spontaneous reaction, calculated power? Hard to say. Netrebko imitates the opera stage; however, gestures and arm movements are stereotypical - just as her role design lacks any specificity. With Cura it is different: he gives a truly contrite Otello, sometimes singing characteristically from the back of the throat …or scooping to notes from below. But the acting and vocal presence is too imposing for Netrebko to undercut him. The orchestra, on the other hand, is only an accessory, a mid-range ensemble that keeps up valiantly.’ Kolner Stadt Anzeiger

Cologne Concert with Anna Netrebko, April 2005: ‘Anna Netrebko didn’t have to seduce the prince—she simply called him up. José Cura, the good looking and vocally powerful tenor from Argentina, was pleased to follow the invitation. Cura threw himself into his roles; he hurled himself at the hearts of his audience. He might just have been the inventor of the large screen so that not a single glance gets sent out in vain. He has preserved for himself the heart of a child, he told an interviewer, and because of that, he slips into his characters totally and completely. Cura's voice explodes like a volcano. If this, his indisputably God-given gift, which he uses lavishly, were ever to give out, Cura has the ability to conduct, compose, or become an opera house director. The man possesses many talents. Against him, the very natural diva Anna Netrebko seemed like a solid concert singer.’ Kölnische Rundschau

Cologne Concert with Anna Netrebko, April 2005: ‘In one scene, her equally convincing partner in song, the Argentinean star tenor José Cura, was hiding in the audience, proceeded to approach the stage slowly, drawn by Anna Netrebko’s searching glances. An atmosphere of wild exuberance prevailed also through the fours encores. In the repeat rendition of O soave fanciulla from Puccini’s La Boheme, Netrebko and Cura showed a very human side: a kissing scene triggered a fit of laughter in both singers. The 8,000 listeners thanked them with applause that lasted for minutes as well as with vociferous shouts of ‘bravo!’ Kolner Stadt Anzeiger

"I love Anna Netrebko's voice!" raves José Cura about his future duet partner, "and I am very much looking forward to the concert in the Kölnarena." And Cura has a very specific idea of what his audience can expect from him: "I want the audience to leave the theater in a different way, in a different mood, than when they arrived. We artists should open this music to them and the music should have changed them. It's a success when people talk about a performance for days or months afterwards - and I want all of them to talk about just one thing, about feelings." As quoted in Pressemeldung

Festival diary with José Cura

Nemzetközi Operafesztivál

12 June 2005

On the second day of the festival, José Cura conducted Rossini's Stabat Mater and Zoltán Kodály's Budavár Te Deuma at the new venue of the Opera Festival, the University of Miskolc. On the morning of the concert, the Maestro held a press conference at the Palace Hotel in Lillafüred and willingly answered the questions of Hungarian and foreign journalists.

Question: You were at the opening concert of the festival. How did you like it?

José Cura: I applauded until my palms ached. Andrea Rost, a good friend, sang more beautifully than ever, and Zoltán Kocsis and the National Philharmonic, with whom I have worked several times, are always great. But I also have to say it’s a weird thing to be a member of an audience. Whenever I find myself in such a situation, I feel like a caged lion. Once you've experienced what it's like to be on stage, you don't want to applaud others anymore. Singing and conducting means life to me.

Question: Can you separate whether you are a singer and a conductor?

José Cura: Either I sing or I conduct. But there is no difference in my attitude. Both are equally important. When I was studying conducting and composition at the academy, one of my teachers told me to learn to sing. I wasn’t interested. Not because I didn’t want to be a singer, but because I thought I could be a better conductor. I first conducted at the age of 15, and as a professional singer I only took the stage at the age of around 30. What I noticed about myself was that I used to sing like a conductor, and now I conduct like a singer. I feel really good in both roles because I always know what the other side wants. If I am singing, I can help the conductor and I can even tell you that a singer may even save the performance if the conductor is not in control of the situation. And as a conductor, I know how I can help singers.

Question: You often performs in Hungary. Why?

José Cura: It is very easy to answer this: I love the Hungarian people. I work in many places in Europe, for example, Germany, France, England, but I feel the best in Hungary, so I come two or three times a year. In a country where you have to fight for a living, where you have to fight for cultural events to take place, where there are many who are struggling to survive, I perform for less. But it is not about money - what I have just said, please don’t pass it on to Western European impresario - but about the work. Hungarian musicians are very inspiring. Working with Zoltán Kocsis is always a special experience, as he is a brilliant musician with fantastic knowledge. I feel like there's a Hungarian band waiting for me to hit the right button, and if I press it, the work will start, the fantasy will unfold, and the talent will explode.

Question: José Cura, the famous tenor, conducts Kodály. How did you see thist work?

José Cura: When we started the rehearsals of Zoltán Kodály's Budavár Te Deuma, I felt strange that I, the Argentinean, would have to explain to Hungarian musicians what I thought of this work. This was a special situation because I don’t know the traditions of performing the piece. I only know the score! Although I have already conducted the Dances of Galánta with the National Philharmonic, the Budavár Te Deum was new to me. When I met Zoltán Kodály's widow, Sarolta Péczely, during the rehearsals, I told her that I would play what is written in the sheet music. "I look forward to it,” she laughed, “because I have not heard it done so.”

Question: So is the Kodály work a challenge for you?

José Cura: It's not a challenge, it's an honor to conduct it. The Hungarian Radio Philharmonic Orchestra and Choir are great musicians and the soloists are also very good so it was a pleasure to work with them. You are now asking the conductor what the concert will be like. I can only answer how I would like it to be.

The conductor's work ends, with some exaggeration, of course, with rehearsals. What the audience hears depends on the soloists, the orchestra, the choir. It is at that moment, the actual performance, when we determine if we achieved what we wanted. If the concert is good, if the musicians are celebrated by the audience, then it can be said that the conductor has done his job well.

Question: What do you think about Budavár Te Deuma?

I've conducted many ecclesiastical works and countless Te Deums, but Kodály's is different from the others. This work is not a painful supplication but a cry. In 1936, between the two world wars, it was composed by an author in a country threatened and crippled on all sides. That’s why his music - understand what I’m saying - is almost blasphemous. He is not begging, but almost demanding, demanding God, where are you? Can you see us? And if you see our misery, why don't you help us?

Question: What do you think about the Bartók + ... Miskolc International Opera Festival?

José Cura: I was happy to come to Miskolc because, as I said, I like to work in places where there is not only work for which I receive a fee, but where something is born because the artists, the audience and the community want something. There are many elegant, luxury festivals in the world. Miskolc is not like that. The city and the surrounding area, as far as I know, are in a difficult situation, there are many worries, life is difficult. If enthusiastic and talented people can create a festival of this quality, a festival of such quality in such a city, its message is very important. A well-established cultural event may be famous but the festival in Miskolc has shown that where there is will and determination, what can seem impossible can be realized. This city should be proud of the festival.

World Cup Concert, Duisburg, July 2005: “The Argentine star tenor José Cura earned the first real ovation. With the Duisburger Philhamonic as sympathetic accompanist, Cura touched the hearts of the audience with his classical delivery and contemporary sound.” NRZ

World Cup Concert, Duisburg, July 2005: “Certainly among the highlights were the musical contributions, first and foremost the Duisburg Philharmonic Orchestra with their vocal partners. On the one hand, they were all perfectly audible and understandable, on the other hand, they all distinguished themselves by their class and were worthy of the setting. Star tenor José Cura was just as enthusiastic as Benny Martell and 14-year-old Jay-Ann. Not only was the specially-composed World Games anthem extremely well received, but the John Lennon classic Imagine was also interpreted in a way that gave goose bumps.” NGZ

World Cup Concert, Duisburg, July 2005: "World Games, Duisburg: With the classical aria Nessum dorma from Puccini’s Turandot, the world-famous Argentinian tenor won the hearts of the audience." Westdeutsche Allgemeine

"Something really great"

WAZ

Jasmine Fischer

14 July 2005

Singer, conductor and composer: José Cura is one of the most prominent artists of his generation and one of the most popular singers in the major opera-houses in the world. For the opening of the World Games he sang, together with two young talents, the anthem of the game, Once in a Lifetime. The Argentine tenor spoke with WAZ editor Jasmine Fischer about the disciplines of sport and music.

WAZ: Mr. Cura, how athletic are you really?

José Cura (standing up and stretching, chest out): Hmm. I do not know. What do you think?

WAZ: You look to be in pretty good shape!

Cura: Well, when I was younger I did some bodybuilding and martial arts. I also played rugby. But many years have passed since then. That reminds me: when I was young, I earned my living as a fitness coach.

WAZ: Today, critics see you as one of the “big tenors" of the 21st century. Is sport important for somebody who stands on the stage instead of in the stadium?

Cura: In principle, yes. You use the same body, the same bones, the same muscles and the same blood. In the time of the ancient Greeks, sport and music were equal parts of the culture. Today many see music here, sport there. You should practice both - although this is sometimes difficult for me. I am on the road most of the time.

WAZ: Musicians as well as sportsmen must train hard to come here for their sports specialty. Which qualities do musicians as well as sportsmen need to be successful?

Cura: Discipline. First and foremost, you need discipline, and second, you absolutely need patience. At the opening ceremony of the World Games, I’ll stand on stage with singers who are as young as I was when I first started to sing. Some of them have told me during rehearsal that they would prefer to further along. But I told them not to try to be the best of the best when you are only 18 – there’s still 30 years (of career) ahead if you. Professionalism comes with the experience - and you have more time for that in music than in sport.

WAZ: What contribution do you think artists and athletes can make to set an example or to make a difference?

Cura: Every time a lot of people gather to hear music or to watch sports competition, something great happens. We all share a positive moment that makes us happy. Happy people are of full energy. And as long as the amount of good is greater than the amount of bad, there is also hope.

WAZ: Hope for what? What do you want to achieve?

Cura: On Wednesday I was watching CNN in my hotel room. They ran only one news story, about the suicide bombing in Bagdad in which more than 30 people died, among them children. That’s bad. But people come together not only to wage war but also to celebrate the World Games, for example. However, while zapping through the stations I saw nothing about the games. The media should understand that people need not only bad news, but also good.

"I was sweating in the stadium even before the athletes arrived," said José Cura, the celebrated star tenor, describing his first impression. With the World Games, he said, it is possible to set an example, to show that there is also good news in the world. "Do we have a chance that in the next ten days the World Games will always appear on the first page of the newspapers and the bad news will only appear in the back?" If so, the Games would achieve an incredible goal, Cura said.