Bravo Cura

Celebrating José Cura--Singer, Conductor, Director

 

 

 

Operas

Aida | Andrea Chenier | Carmen | Cavalleria rusticana | Fanciulla | Il corsaro | La Boheme | Otello | Pagliacci | Samson | Tannhauser | Trovatore | Turandot


Cura Raro

Operas done early, operas done once, operas done sparingly -- we explore special operatic performance by José Cura

 

 

 

 

The First Staged Opera in Europe!  1992

 

 

 

 

 

 

 

 

 

 

 

 

Gattabianca

1993

 

 

 

 

 

La Signorina Giulia, Trieste 1993: 'Jan, the servant, perfidious and cynical, was the young Argentine tenor José Cura, extraordinary as a singer-actor.' Trieste Oggi, April 1993

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Forza del destino

 

1994

 

La forza del destino

 

 

Turin

February and March 1994

 

 

 

 

 

 

Nabucco

 

Nabucco, Paris, 1995: ‘... the fascination arrives with the Argentinean José Cura, a Latin-burning Ismaele, this brilliant tenor, easy and natural has a golden career ahead of him.’ Tribune de Genève, September 1995

 

 

 

 

 

 

 

La Gioconda

Performed only once  - at La Scala -- in 1996/97!

 

La Gioconda, Milan, January 1997:  ‘The tenor José Cura surpassed the test.  His timbre is authentic, his squillo true.’ Isotta Paolo, Corriere della Sera, 18 January 1997

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


Francesca da Rimini

Performed only once  - at Palermo -- in 1995!

 

 

 

 

 

 

 

 

 

 

 

Iris

Iris, Rome, January 1996:  ‘In summary, the sights and sounds and the emphasis on imagination married with an understanding that rarely occurs:  in my own case, the Iris by Hugo de Ana will remain one of the most important events in my lifetime.  And there was the personality of José Cura, with a sometimes unevenness of tone but with the rare and solid timbre of a lyric tenor.’ Isotta Paolo,  Corriere della Sera,  11 January 1996

Iris,  Rome, January 1996:  ‘The experienced Daniela Dessi and José Cura, the Argentine tenor with the inherent limitation of his young age but who already displays the color and style of spinto singing that hasn’t been heard in quite some time, are excellent as Iris and Osaka, two roles which are by no means easy.’ Peru Egurbide, El Pais, 25 January 1966

Iris CD, recorded Rome Opera January 1996; released March 1998: ‘The role of Osaka, the wealthy nobleman at whose behest Iris is kidnapped but who is soon bored by her childish innocence, must be frustrating for an intelligent tenor: it is shortish, with very little room to suggest subtlety of character. Cura responds with warm, robust tone...but also demonstrating that he has a lovely mezza voce available for any role that might need it rather more than this one does.... this recording convincingly demonstrates that Cura is a singer of exceptional quality and even greater promise.'  MEO, Gramophone Magazine, March 1998

Iris CD, recorded Rome Opera January 1996; released March 1998: 'Cura is excellent and right inside the part, with his vivid enunciation and brilliant 'open' timbre.'  Richard Law, Opera 1999

Iris CD, recorded Rome Opera January 1996; released March 1998:  ‘José Cura manages to find some sympathy in Osaka while creating a ringing characterization.’  Parsons, Classical Music: The Listener’s Companion, 2002

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Il Tabarro

Performed once in a televised concert performance in 1998 (Amsterdam)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1998

Il tabarro

 

Amsterdam

2 February 1998

 

Click on photo to hear

 

 

 

 

Norma

Norma, Los Angeles, 1996: ‘... it was José Cura, as Pollione, with his breezy strutting, his chiseled gold coin looks, and his silvery incandescent voice, who announced the arrival of a huge new talent.’ Downtown News, September 1996

Norma, Los Angeles 1996:  ‘...and yet it is because of a tenor that fans will be clamoring for tickets for Norma if not for other reason than to say that they saw José Cura then. The young Argentine, making his local debut Thursday, has being singing professionally for only a few years. Cura has it all.  He has that special presence that causes you to never stop noticing him when he is on stage.  He is exceptionally good looking and could easily suit popular television or film.  He sings with a firmness of voice that is smooth across the registers yet commanding virile.  His pitches are dead-on.  He gives each phrase a natural musical shape, he can act, and it surely doesn't hurt that he happens to be a conductor and composer.  Best of all, Cura proved an ensemble player of the most noble sort, doing nothing to upstage the performance, only enhance it.'   Los Angeles Times, 7 September 1996

Norma, Los Angeles 1996: ‘José Cura delivered the goods. His virile, elegantly produced tenor, with its dark, molten tone, magnified this handsome, brooding Pollione, whose presence explained the obsession of the vestal virgins…’  Donna Perlmutter, Opera News, 28th December 1996

Norma, Los Angeles, September 1996:  'As for José Cura, the Argentine tenor singing the less important role of Pollione, the Roman proconsul who spurns Norma for Adalgisa, word of him him has traveled quickly.  A magnificent signer, he is now the undisputed star of the show. ..'   Mark Swed, The Los Angeles Times

Norma, Vienna, November 2007:   'In his role debut, José Cura finds the correct sound for the thankless role of Pollione.  Cura's tenor is Italianate and has a lot of bloom. And even if his voice is growing more and more baritonal, all the necessary high notes remain.' Peter Jarolin,  Kurier, 18 November 2007 

Norma, Vienna, November 2007:  ‘José Cura’s vocal colour [was] warm and full in timbre.’  Moore Parker, The Opera Critic, 27 November 2007

Norma, Vienna, November 2007:   'José Cura as Pollione scores with radiant high notes and romantic bloom ....'  Christina Mondolfo, Wiener Zeitung, 19 November 2007

Norma, Vienna, November 2007:   'The third person in this alliance was José Cura as Pollione.  Certainly he is not known as a bel canto singer; however he was able to sing the line very well, to pull his voice back and adapt it to the form resulting in a beautiful partnership with the song.  This was already apparent in his entrance aria.  Other houses can only envy Vienna this trio in a performance.'  Martin Robert Botz, Der Neue Merker, November 2007

Norma, Vienna, November 2007:   ‘José Cura offered a Pollione of much baritone-colored testosterone, which overlay the actual singing line.  Bel canto in the classic sense is not to be expected of Cura in any case [and] those who perhaps legitimately demand this requirement will be hard to satisfy with this casting; on the other hand, if Cura's special idiosyncrasies are accepted, one will also find much good in his Pollione. He sums up his operatic heroes quite well: this time the love-struck Roman is battle-tested and mounts the pyre with head held high.'   Dominik Troger, OperinWein, November 2007

 

 

Norma @ Los Angeles, Sept. 5, 8, 12, 15, 18 and 21 with Jane Eaglen/Sally Wolf, Susanne Mentzer, Jose Cura, Kenneth Cox.

 

 

 

 

 

November 2007 with Edita Gruberova (Norma), Elina Garanca (Adalgisa), José Cura (Pollione), Dan Paul Dumitrescu (Oroveso), Caroline Wenborne (Clotilde) and Marian Talaba (Flavio) at the Wiener Staatsoper
 

 

Photos by Helga

 

 

 

 

 

 

 

Photos by Zsuzsanna

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

2003

Don Carlo

Zurich

March and November 2003

 

 

 

 

 

 

 

 

 

 

Last Updated:  Friday, August 26, 2016  © Copyright: Kira