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Le Villi, Vienna, 2005:
“José Cura provided just the right dose of emotional overdose
as Roberto. His unpretentious, intense commitment to conveying
a guilt-ridden character melded effectively with that sobbing
tone that works well in Puccini's undoubtedly masterful
cantilenas, but in Cura's case is only a useful, spicy complement
to the direct and confident awakening of lines. Together
with Krassimira Stoyanova (who brilliantly sang Anna), Cura
comes across all the more vividly as director Karoline Gruber
designed a bizarre, brightly colored world of costumes around
the tragic couple in which puppet-like creatures represent
a rigid social order that does not permit individuality.”
Der Standard
Le Villi, Vienna, 2005:
“Puccini's score exerts its youthful passion. The composer
of immortal operas already can be heard flexing his rapturous
sonic muscles, and in the exciting, if raw, tenor of José
Cura (Roberto), the gleaming soprano of Krassimira Stoyanova
(Anna) and the solid baritone of Franz Grundheber (Guglielmo)
the music is given its full due.”
Cleveland Plain Dealer
Le Villi, Vienna, 2005:
“José Cura, with his powerful, heroic tenor,
succeeds in vocal climaxes of radiant brilliance.”
Die Presse
Le Villi, Vienna, 2005:
“José Cura is the unfaithful Roberto. He throws himself
completely into his role—his strong presence makes itself
felt even if he does not always sing “in accordance to the
school.” In his big second act aria Ecco la casa,
he is simply magnificent. The applause was very strong and
prolonged.” Der Neue Merker
Le Villi, Vienna, 2005:
“Puccini could not have been better served
vocally; José Cura pinged Corelli-like high notes off the
ceiling.” Opera News
Le Villi, Vienna, 2005:
It takes more than a failed staging to completely rob [this
early Puccini] of its stage effectiveness -- at least when
it has such a top-class cast as in this premiere at the
Vienna State Opera. José Cura was at the forefront
of the audience's favor. After a slightly hoarse beginning,
he performed the role of Roberto with the unmistakable color
of his exceptional tenor and so much smoothness and charisma
that the refrigerator and cuckoo clock were quickly forgotten.
The singer and conductor were celebrated frenetically after
the Villi. Das Opernglass
Le Villi, Vienna, 2005:
“Applauded wildly by the audience, José Cura
(Roberto) sang the emotion-drenched music with bloom…”
Wiener Zeitung
Le Villi, Vienna, 2005:
“After truly maddening half-hearted appearances as Chenier,
Otello, Alfredo and Alvaro, my expectations were decidedly
low but Cura sang all night. No faking, no crooning,
no saving up for the big moments. His voice is dark
and crowned by warm, and occasionally even brilliant, top
tones. Where I was less enthusiastic was in his modification
of the words in the passagio. In the great “Preghiera”
Trio with chorus in closing Act I, rather than ascending
to the top on the “e” vowel in the word “prega” we had the
bizarre “pre – u – ga.” He seems to like “u” for virtually
every top tone and sustained note in the passagio.
[Still] I count his assumption a good success. He
managed to strike all of his favorite poses—to the delight
of his fans—so the “regie” was not allowed to get in the
way of “his showcase.” He was the only character
all night who sang virtually his entire role straight into
the face of the audience [while] his stage partners were
often found singing upstage and facing each other in quite
naturalistic manners. But Cura was Cura. A star
turn, indeed.” ARTicon
Le Villi, Vienna, 2005:
“Krassimira Stoyanova made a suitable match with the impetuous
and manly Roberto of José Cura, who demonstrated virility
and sweetness. Cura has had excellent moments lately and
his voice has become seamless between registers, the high
notes sure; he has also become a convincing actor…”
La Opera Buen Ayre
Le Villi, Vienna, 2005:
“Add José Cura as a gloriously self-indulgent, golden-throated
Roberto, Krassimira Stoyanova as a radiant, refined Anna,
and the robustly direct Franz Grundheber as the father,
and you are in for a great night.”
Financial Times
Le Villi, Vienna, 2005:
“Brilliant: Krassimira Stoyanova's Anna and José Cura's
Roberto. With such a cast, hardly anything can go wrong.”
Der Standard
Le Villi, Vienna, 2005:
“The actual content of the work is neglected due to superfluous
actionism and kitsch. That wasn’t necessary, as Krassimira
Stoyanova as Anna and José Cura as Roberto are two convincing
singing actors. Musically, the evening is more than
successful. Cura is an exemplary partner, his
dramatic voice having the melting quality necessary for
Puccini. Slightly disturbing were his forcing in the
high notes and his sobs. Rightly bravos...”
Dreh Punkt
Le Villi, Vienna, 2005:
“In Puccini's evocation of the undead and horror, a trio
shines: […] José Cura revels in tenor radiance and smoothness.”
Krone
Le Villi, Vienna, 2005:
“Krassimira Stoyanova is an excellent lyrical soprano who
paired well with the impetuous and macho Roberto of José
Cura who showed virility and gentleness as he teaches his
young wife how to cook. Cura has been going through
a good period lately and his voice has managed to unite
the various sections successfully, the high notes are sure
and overall he is convincing in his characterization because
he has reduced his mannerisms to a minimum.”
Operayre
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