Andrea Chénier, London February 1998: “The
Argentinian José Cura is indeed the "fourth tenor", as his
previous appearances with the company—Corsaro, Samson et
Dalila –have already indicated. Tirelessly robust tone,
heroic delivery, even plangent lyricism in the 30-odd seconds
where it is required-all are on tap. He also has one or two
traditional, rather endearing tenorial mannerisms, like tying
one phrase to the next to show off his breath control, and
approaching top notes via a springboard about a third down, then
hitting the target with ejaculatory triumph. The audience went
wild.” The Times, February 1998
Andrea Chénier, London March 1998: “His
voice rings out powerfully, but he has the ability and taste to
curb the volume when restraint is called for, as in ‘Come un bel
di’. He is the real thing.”
Telegraph, 1998
Andrea Chénier, London March 1998: “The
Royal Opera’s concert performance of Giordano’s Andrea
Chénier was notable primarily for José Cura’s big-boned
singing of the title role. His dark, baritonal tenor is not a
beautiful sound—and he has to sort out some technical flaws,
such as sliding up to top notes, and shaky intonation—but for
red-blooded Italian verismo opera, he’s clearly the real McCoy.”
Sunday Times, 1 March 1998
Andrea Chénier, London, April 1998: “Chénier
is not all bad. Tenors love it, of course, because they get
four arias—one in each act. And they’re expressly designed
to incite passion and enflame desire. The audience’s, that is.
Love and idealism writ large—does it every time. You could see
that José Cura was already well-primed for his task before he
rose to it. Riding on the crest of his new-found reputation as
the latest ‘fourth tenor”, his poet/patriot stood tall and
swarthy, a tenorial colossus who knows he’s made it. The dark,
grainy voice was wielded with determination. The big high notes
arrived at by way of that curious glottal spring-board effect
which effectively adds an appoggiatura to them. There’s an
athleticism, an air of sport about his singing which is, of
course, in the great tradition of tenor stylists, while his
musicianship is apparent in long phrases such as those that
grace his second act aria, ‘Credo a una possanza arcane’.”
Independent, 2 February 1998
Andrea Chénier, London, April 1998: “The
role of Chénier is tailor-made for [José Cura]: there is
something viscerally exciting about his platform presence.”
Opera, May 1998
Andrea Chénier, London, April 1998:
“José Cura’s dark, burnished tenor shaped Chénier’s music with
such impassioned fervor that he brought the house down.”
The Stage, 12 March 1998
Andrea Chénier, Vienna, February 2004:
“For Argentine tenor José Cura, the part of the French poet who
finds his love in Maddalena and leaves this life with her by way
of the guillotine is a star role that seems ideally suited for
his voluminous tenor voice. The four arias and two duets play
to the skills of the tenor.” Opera
Notes, February 2004
Andrea Chénier, Vienna, February 2004: “In
terms of division of labor in the generation of tenors Roberto
Alagna, Marcelo Alvarez, Juan Diego Flórez and Ramón Vargas,
José Cura is the man for the powerful: pithy and penetrating
high notes are sounded with emphasis. And if the versatile
Argentine also get the opportunity to paint the sounds with
yearning, painful expression, then bouquets for him are
certainly appropriate. However, one hoped that even with a
resident of the vocal Champions League singing there will be
facets and shades of multi-dimension. This time hope was of no
avail. In the depth of this voice remained inflexible in giving
a soul to the figure of the poet Chénier.” Der Standard, 2
February 2004
Andrea Chénier, Vienna, February 2004: “He
provides sold-out houses, delights his admirers around the world
and is considered one of the best tenors of his generation: when
the Argentine José Cura stands on stage anywhere, frenetic
jubilation is inevitable. So it is at the Vienna State Opera,
where Cura has now debuted as Umberto Giordano’s Andrea Chénier.
No doubt Cura knows what he owes his fans: large gestures, a
little poetry, many high notes and a good deal of theatricality,
even if the middle register does not always follow the will of
the artist.”
Kurier, 2 February 2004
Andrea Chénier, Vienna, February 2004:
“Audience favorite José Cura made his debut in
the house on the ring as the title character. He did not quite
convince: in the piano passages his tenor sounded somewhat
pressed and strained. But when it came to sing the praises of
love or revolution, then he sang out powerfully. The audience
rewarded the cast with thunderous applause.”
Wiener Zeitung, 11 February 2004
Andrea Chénier, Vienna, February 2004:
“José Cura tries not to emphasize the macho; as a result he
seemed to hold something back in his characterization of
Chénier. His voice is heavy, somewhat inflexible, but surely
forte. His singing is not always beautiful but his strong,
masculine appearance compensates for some technical difficulties
in the middle register. Since women are not immune to male
beauty, hearts open to him and manifest in ovations. Finally, a
tenor who is worth cheering.” AON, 10
February 2004
Andrea Chénier, Vienna, December 2004: “Even
if the aged Andrea Chénier production of the Vienna State
Opera bubbled over with the revolutionary verve of a homely
early Victorian (Biedermeier) salon: At this reprise on
Wednesday as well, one could yearn, suffer, sob—and applaud
euphorically, all thanks to dynamic interpretation. Sniff, is
this beautiful or what! One minute, this effervescent hormone
hydrant named José Cura serenades the marvels of poetry with
tenorial ardor and heart rending top notes; the next, he is
tossed and carted off to the scaffold as Andrea Chénier,
protagonist of the Verismo hit by the same name. And after a
deeply emotional duet, his beloved jumps on and joins him of her
own free will--because on the other side of the threatening
blade of the Paris Guillotine, a new and better world is
awaiting both of them. To tell the truth: a death for love which
is that consummately emotional is the only thing that could
possibly be more alluring and beautiful than the sense of relish
imparted by this reprise of Giordano’s tear jerker at the State
Opera—in spite of the meter-thick layer of dust which by now
weighs heavily on Otto Schenk’s museum-like cloak-and-dagger
production that dates from 1981. But that proverbial dust isn’t
just blown away—acoustically speaking—by the title hero alone: a
spirited Marco Armiliato is in charge of an orchestra whose play
is saber-rattling or squeezes the tear ducts—as desired.”
Wiener Zeitung, 4 December 2004
Andrea Chénier, Vienna, December 2004: “The
José-Cura-Festival at the Vienna State Opera continues. After
Verdi’s Stiffelio and Canio in Leoncavallo’s Pagliacci,
the tenor is now singing the role of Andrea Chénier in Umberto
Giordano’s opera by the same name. Cura enriches this worn Otto
Schenk production as well, because he acts with a degree of
passion and devotion that we know from few other singers. To be
sure, there are greater and more elegant voices—but in the
totality of his presence (appearance and performance), Cura is
excellent, first-class.” Kurier, 3
December 2004
Andrea
Chénier, Bologna, February 2006:
“Chénier
returns to the Comunale and the audience becomes inflamed due to the
potent and charismatic stage personality and voice of José Cura, a
tenor who seems destined to
elicit mixed and visceral
reactions. […]
José
Cura never passes unnoticed: he unleashes unconditional love from
the audience but also engenders some visceral hatred. The [response]
is something that matters in this time of the globalization of the
absolute personality. He categorically dominates and imposes. Call
it pure charisma: when the Argentinian tenor takes the stage, it’s
useless to deny it, you just watch him. And it is not just for the
figure and the strong, passionate, vehement interpretation but
rather for the belief that in singing these verismo roles he manages
to convey a certain freedom, almost always guided by an unerring
musical instinct, which is their raison d‘être.
His amber voice, full-bodied in the center, ringing and vibrant in
the high notes, flows generously in a cantabile but not always as
neatly as would be desired. Cura indulges in flagrant behaviors and
takes notes at his pleasure but (also) with the pleasure of the
audience who applaud and shout out with unusual participation. Any
disagreement is quickly drowned out by the roar of success. In
short, while this Chénier is more gallant warrior than delicate
poet, it is indisputably fascinating….”
L’Opera, January 2006
Andrea
Chénier, Bologna, February 2006: “A
perfect Andrea Chénier, with José Cura at his best. After
[what seems] years José Cura has put down his baton and returned to
the stage in a role that, with his lirico spinto voice and handsome
looks, leaves the impression was written specifically for him. His
return is marked by newly formed brilliance and expressive new
maturity…only in rhythmic order does he remain the ballet dancer of
the past. Cura sings ‘Improvviso,’ which is certainly not a piece of
candy in its phrasing, lyricism and fervor, with great ease (“drinks
it down like a pair of fresh eggs”) and the audience erupted in
applause. In his farewell to life, ‘Come un bel dí di maggio,’ he
offers soaring high notes held with long breath but also softness
and mezzo voce, dynamics this singer would not have employed just a
few years ago.” Il Giornale, 2006
Andrea
Chénier, Bologna, February 2006: “José
Cura was a great protagonist. He presented a fresh, smooth voice in
top form. The baritone timbre quality of the role perfectly marries
with the middle register, although the rise to the high notes,
ringing and bright, presented no problem. More detached than shy in
the first Act, but always passionate, he brought the house down with
'A dì all' azzurro spazio', a fiery hymn to justice from the true
Chénier. 'Sì, fui soldado' contained the right amount of vehemence,
while
'Come
un bel dì
di maggio' was as
poetic as the character. The versatile Argentine artist gave a
generous interpretation that delighted the audience.”
MundoClasico, 23 January 2006
Andrea
Chénier, Japan, June 2006: “Cura's
charm fully blooms in Andrea Chénier.”
Mostry Classic, June 2006
Andrea
Chénier, Japan, June 2006: “The
performance by José Cura as Andrea Chénier added a new aspect to the
opera. Maddalena could not help devotedly loving the song of the
masculine and revolutionary poet with a tender heart.”
Ongaku no tomo, June 2006
Andrea Chénier, Barcelona, October 2007: “Andrea
Chénier
returned in triumph to Barcelona, after more than two decades, to
open the season at Gran Teatre del Liceu (seen October. 8). Heading
up the stellar cast of the Liceu’s striking production by Philippe
Arlaud was a favorite of the Barcelona public—Argentine spinto tenor
José Cura. Cura’s love affair with the Liceu started five years ago,
when he replaced José Carreras at the last minute as Samson (he was
flown in the afternoon of the performance), and continued with a
much admired Otello last year. As Chénier, Cura opted for
dramatic truth over the virile brio and heroic antics that
characterized his previous appearances at the Liceu. His poet was a
subdued, confused dreamer overcome by the grave circumstances that
flooded his romance and everything else in blood and tears. His
choices were dramatically powerful and musically consistent: he
placed his highly individual, expressive voice completely at the
service of the opera. Even his high notes sounded more convincing
and came with greater ease than in last year’s Otello.”
Opera News, January 2008
Andrea
Chénier, Barcelona, September 2007:
“In the first cast, which we saw, José Cura [played
the character] as physically slightly embarrassed to find himself in
the salon of Madame de Coigny, and as a young man tempted first by
an adventure before becoming an ardent lover. Vocally, his emission
does not always have the necessary purity and clarity … [but] the
court scene and the final act were honorably sung.”
Forum Opéra, October 2007
Andrea
Chénier, Barcelona, September 2007:
“I
first heard José
Cura sing the opening aria of Chénier in Vienna. He excited me then
and he satisfies me now. He fulfilled all the requirements in the
duets, he passed with neither grief nor glory ‘Si
fui soldado’ in the third act but, on the other hand, did not
deserve the approval received after ‘Como un bello día de mayo,’
which seemed more like a windy day in August. He surpassed all the
requirements for high notes but lyricism is definitively not his
forte.” La Razon, 28 September 2007
Andrea
Chénier, Barcelona, September 2007:
“In
the main role, the Argentinian tenor José Cura provided an intense
portrait of the poet Andrea Chénier, convincing in the color, the
quality and the power of a voice that is produced with extreme skill
but with greater emphasis on the dramatic expression of the
character rather than vocal refinement or elegance. Voices of this
caliber are seldom heard.” El País, 17
September 2007
Andrea
Chénier, Barcelona, September 2007:
“José
Cura was all dedication and passion as Andrea Chénier, driving with
mastery his particular dark vocal color and specifically emphasized
in the upper register where he showed a dazzling security--
his
'A all'azzurro
dì spazio'
was
outstanding.”
MundoClasico, 26 October 2007
Andrea
Chénier, Barcelona, September 2007:
“The
choice of José Cura as headliner for this production was a
no-brainer. This splendid singer and simmering actor has no trouble
slipping into the skin of the poet caught by the Terror and beheaded
at the age of 32. In triumphant vocal form, Cura appropriated an
ideal way with the words of Chénier from ‘Improvviso’ with bronze
tones and in temperament as the damaged fawn in the final hours of
the rebel poet (a beautiful “Come un bel di di maggio” in the fourth
act). He made us believe in his character from beginning to end,
moving and credible.”
Scenes Magazine, 29 September 2007
Andrea
Chénier, Barcelona, September 2007: “Andrea
Chénier
is an opera to bring out the best in a tenor and José Cura has got
the appropriate tone and dense voice to triumph in that role.”
El Mundo, 27 September 2007
Andrea
Chénier, Barcelona, September 2007: “José
Cura possesses the density, the wounded gravity, and the aura of the
poet, every part of which he qualifies with a restraint which
multiples tenfold his vocal charm. While he has everything needed to
move the audience—the beauty of his timbre, his radiant physical
appearance, his projection—we regret to see him so underused by a
director who does not realize how lucky he is [to have him]...Carlos
Alvarez is simply remarkable as Gérard in that he dominates the
tessitura and imprecations but only with Cura is he able to come
alive on the stage and make his character exist.”
Concert Classics, October 2007
Andrea
Chénier, Barcelona, September 2007: “Full
musical success—especially on the vocal side. Giordano’s Andrea
Chénier returned to the Liceu to ovations, with tenor José Cura
as head of the cast.
Cura was a fully convincing Chénier, here in ideal
vocal condition, possessing high Pablo
Meléndez-Haddad
Andrea
Chénier, Barcelona, September 2007: “Arlaud
neglects the interpretative aspects of his brilliant cast—in, for
example, the emotional stillness of the exceptional tenor José
Cura.” La Tetro, 14 October 2007
Andrea
Chénier, Barcelona, September 2007: “José
Cura creates a convincing Andre Chénier who draws applause at the
end of the Act I ‘Improvviso.’ A tremendous time thus awaits you if
you go to Barcelona.” Resmusica, October
2007
Andrea
Chénier, Barcelona, September 2007: “José
Cura in the title role, eagerly awaited by the "aficionados" of the
upper floors of the Liceu, was fairly and warmly acclaimed.”
WebThea, October 2007
Andrea
Chénier, Barcelona, September 2007: “Beautiful,
with a brilliant timbre, ductile, malleable colors, is the voice of
José Cura.” La Vanguardia, 27 September
2007
Andrea
Chénier, Barcelona, September 2007: “Three
great voices with three great personalities: this is the sine qua
non for Andrea Chénier to be effective. And while the Liceu
has assembled a remarkable trio of singers, it did not end up being
a remarkable evening. José Cura is a paradoxical artist: when he
controls his mannerisms and lets his voice sound honestly, the
result is extraordinary. In the case of Chénier, this was not 100%
the case but at least there was sensitivity and charisma and in the
fourth act all the meat was on the grill.”
Avui, 25 September 2007
Andrea
Chénier, Barcelona, September 2007:
“This
historical drama has not been offered at the Liceu since the
1985-1986 season. We have to say it is a hard opera to mount due to
the technical difficulties required from the three main characters,
constantly carried to the limits of the tessitura. This fact
requires great voices and precise vocal technique. On this evening,
these expectations were more than exceeded.
José Cura is currently the Andrea Chénier of
reference, since this is a character whom he has sung from the
beginning of his career, and that makes it a part of him when it
comes to interpretation. Vocally, he dominated from first note to
last and his characterization of the poet was totally natural. His
voice filled the auditorium to the last row because of its very
peculiar timbre; his tessitura is deep and velvety with brilliant
high notes.” La Porta
Classica, 25 September 2007
Andrea
Chénier, Barcelona, September 2007:
“It
was a night of contrasts at the Liceu. Andrea Chénier,
Umberto Giordano's historical drama set in the French Revolution,
opened the season at the Gran Teatro on Tuesday. The title,
returning to the program after 22 years, fulfilled only half the
expectations created by a stellar casting, the musical direction of
Pinchas Steinberg and the promise of a novel staging by Philippe
Artaud. The ovations for the singers and the chorus collided with
some booing [aimed at] Artaud and to a lesser extent at Steinberg.
But except for the final reaction and the interruptions to applaud
José Cura (Chénier) and Daniela Dessi (Maddalena de Coigny) after
singing the arias ‘Un dì al'azzurro spazio’ and ‘La mamma morta’ or
to celebrate their splendid duet that highlighted the pain and
happiness of dying together, the performance had a rhythm less
passionate than the disturbing history suggested by Luigi Illica’s
libretto. The score forces the actors to accept significant vocal
and dramatic demands. And the first part (vocals) worked, despite an
initial constraint that translated into a certain coldness, but not
quite the drama with a stiff Cura playing against a more visceral
Dessi.” El Periodico, 27 September 2007
Andrea
Chénier, Barcelona, September 2007: “The
Liceu
opened the new season
with Andrea Chénier.
The most famous
opera by Italian composer
Umberto Giordano
arrived in Barcelona with
a stellar cast which included
three names who have been
at the top of the opera roster for the last decade:
the Argentine tenor
José Cura, Malaga
baritone Carlos
Alvarez and Italian
soprano
Daniela
Dessi.
José
Cura shone fiercely in the
story of a poet who
lived in the euphoric
early days of the French
Revolution and
died precisely
because he was not
fanatical enough.”
Telenoticies
Catalunya Informació, 26 September 2007
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