Otello Salzburg 2016

Otello, Salzburg, March 2016: “Vocally, the production is worthy of a festival cast and José Cura is compelling as Otello with his richly colored tenor, fragile tenderness, but also fierce ardor. At the end much applause, not necessarily fiery, but lasting.” Südwestpresse, 22 March 2016

Otello, Salzburg, March 2016: “Jose Cura - as conductor and director himself who is intimately familiar with Otello - stepped in the title role [late] and presented his short-tempered commander with solid vocal line. Applause at the end of the evening…” Salzburg24, 20 March 2016

Otello, Salzburg, March 2016: “Boussard has no compelling role concepts to offer his singers. [Without directorial direction] José Cura as Otello plays the elegant song singer rather than the macho driven into erotic jealousy madness. There is no sign of the powerful and expressive singer Cura. He succeeds most beautifully in the lyrically intimate passages…” Süddeutsche Zeitung, 20 March 2016

Otello, Salzburg, March 2016: “Without dishonor and with a Latin style, Cura convinces as an actor right through his death on stage….” AltaMusica, 27 March 2016

Otello, Salzburg, March 2016: “Director Vincent Boussard tells nothing. Relationships between the characters are kept at the greatest possible distance, and when they are close to each other, as in the love duet, all feeling is suppressed, turned cold. José Cura is a long-serving, experienced Otello who knows how to handle the role and also how to manage it vocally in a thoughtful way. He always manages to make something out of a role. Here, however, he seems strangely confined. He creeps through the huge space like a tired, lonely loser who is not allowed to come out of his shell. The statuary movement concept also affects the solid vocal characteristics. At the end there was friendly applause for the good ensemble, some boos for the director but in the title role, José Cura won the majority [of applause ]….” Salzburger Nachrichten, 20 March 2016

Otello, Salzburg, March 2016: “José Cura is still a singer who goes to the limit, he has an Italian flair in his voice, and he sings some beautiful melodic lines. In the premiere he was not always precise in his intonation. As a performer he is intense, but one can't shake the feeling that this stems less from a logical directorial concept than from his personality. As Otello, he is a brooder, an intellectual, almost a sage in an André Heller look. One is happy watching him….” Kurier, 20 March 2016

Otello, Salzburg, March 2016: “The choirs remain unfortunately motionless even when Otello smashes through with his Esultate. José Cura brings the message of joy with dramatic eloquence. [This is followed by] an exquisite love duet. The fourth act became a poignant revelation, even the most beautiful apotheosis of theatrical music perfection. Cura sings through this act very well, as he does in the monologue "Dio mi potevi" in Act 3—with particular expression, beautiful timbre and warm voice.” Stol, 20 March 2016

Otello, Salzburg, March 2016: “Opinions about director's theater in opera vary widely; some approaches are acclaimed, others torn apart. Audiences at the Salzburg Easter Festival disagreed on both Vincent Boussard's staging of Verdi's Otello and the musical performance; bravi met boos. Boussard's minimalist, intermedia staging was primarily responsible. Otello's jealousy seemed almost ridiculously exaggerated and silly, and a deep psychological drama became a parody. In the orchestra pit, Christian Thielemann presented several sound ideas at once, [so] opulent in some passages that both José Cura and Carlos Álvarez struggled to remain somehow audible. Cura, a moving Otello who seems to doubt himself, walked across the stage, haunted by his inner grief, struggling with melancholy in his voice and in broad passages with his fate.” Bachtrack, 21 March 2016

Otello, Salzburg, March 2016: “José Cura as Otello left little to be wished for.” DNN, 20 March 2016

Otello, Salzburg, March 2016: “Here, Otello is tenor José Cura. He looks splendid [in the opening scene], this victorious Venetian general, in his performance costume inspired by the pomp of the Serenissima. And Cura slams his "Esultate!" into the grand Festspielhaus. His vocals will continue to shine but not his costume—by the end, it is nothing more than a penitent’s shirt. Boussard confuses poetic openness with interpretive vagueness. He lacked the courage to give clear directions and this in turn has devastating consequences for the effect of Verdi's opera. Cura may have audibly attempted to seek vocal differentiation to the extent possible but since his Otello has been given neither character nor depth of life, Boussard quickly reduces him to a puppet tied to the invisible thread of Iago. It is only in the closing scene, with "Niun mi tema," that Cura, who has up to this point been constrained by the director, breaks free with the necessary urgency: as if crushed by the weight of his guilty entanglement, he sinks down the wall of the bedroom, brings his expression and voice all the way back to the most personal, and as the perception of meaningless suffering matures, whispers his acknowledgement: "Otello fu." [In this moment, Cura makes clear] everything that constituted his general’s glory and his love is gone.” Neue Zürcher Zeitung, 20 March 2016

Otello, Salzburg, March 2016: “Argentine José Cura is a reputable tenor and Otello has been one of his major roles in his career. His experience together with a well elaborated technique and strong stage presence help him to present a homogenous and convincing interpretation. The Salzburg Easter festival convinces again with its high quality.” Opera Online, 29 March 2016

Otello, Salzburg, March 2016: “A master in the art of bending parts to fit, the 53-year-old Argentine often trims long (high) notes to more comfortable durations and doesn't let either the note values or the conductor tell him when and how to rise to them and come back down again. In the oath duet he pushed Thielemann's already fresh tempo even further - nervousness or an accurate assessment of his possibilities? After the second act Cura seemed more relaxed, surprisingly denied himself all exaggeration in the delicate monologue "Dio, mi potevi", usually distorted against Verdi's explicit command by sobs, and for the first time rendered the role expressively. At the end, respectable successful.” Die Presse, 30 March 2016

Otello, Salzburg, March 2016: “José Cura performs his great Otello with a weather-beaten tenor. There is no more gymnastics, the outbursts are very measured, he stretches out the death scene…” Merkur, 22 March 2016

Otello, Salzburg, March 2016: “The Festival called on José Cura, an old acquaintance with [the role] for their Otello. His is a strong voice, used with a certain intelligence, but in need of refinement. Despite the shortcomings, the singer defends himself and the role well: José Cura saved the performance. There is shrewd understanding in his singing, there is emotion; he is truly formidable. In the end, [Cura] did well despite the problems with [the production and] an orchestra that was not always helpful.” The Wanderer, 2 April 2016

Otello, Salzburg, March 2016: “The voice fill the stage: José Cura plays the organ a bit; but he has a rare sound as well as intensity…” Der Standard, 20 March 2016

Otello, Salzburg, March 2016: "Indeed, José Cura possesses many of the qualities necessary for Otello, his "Esultate" (a piece of music which sounds like a compositional revenge by Verdi on all tenors) was still a bit restrained and uneven, but his death in the end was first class and sung with great intelligence and lyricism. In between, there was a slow immersion into the part, paired with correspondingly good vocal staginess in the ariosi as well as in the duets and in the collapse in act three. And, of course, his acting, the lurking eruptive, his tender moments, the ecstatic get going. He possesses without any doubt the figurative authenticity which an Otello needs in order to belong in the front ranks." Der Neue Merker Online

Otello, Salzburg, March 2016: “José Cura shone in the title role.” NMZ, 20 March 2016

Otello, Salzburg, March 2016: “The singers, led by José Cura as Otello, left few wishes unfulfilled. The great love scene between Otello and Desdemona at the beginning and Desdemona's death at Otello's hand at the end went to the heart.” Frankfurter Neue Presse, 21 March 2016,

Otello, Salzburg, March 2016: “The poetry of love does not last long [in this production]. It appears thin and superficial from the beginning and then narrows symbolically to a light-flooded doorway. She loves him for his exploits, he loves her for her compassion. In the bizarre triangular space, doubled by mirrors, the utilitarian character of this love becomes clear, which of course has musical consequences; the emphasis is less on Italianate melodiousness than on massive contrasts, far removed from the profundity of selfless love. With José Cura and Dorothea Röschmann the main roles are performed with power and confidence; the boos for them at the premiere remain incomprehensible. Especially in the hour of death [Cura] proved that besides hurricane-like vehemence in the dramatic, sound-dense passages he can also fulfill the very tender moments with a great deal of sensitivity.” Klassik, 19 March 2016

Otello, Salzburg, March 2016: “Getting lost in the perfection of details runs the risk of losing sight of the big picture. Fully focusing on the meta-level of a story can lead to missing the point. With director Vincent Boussard, neither the tragic love story between Otello and Desdemona nor the intrigues of Iago are in the foreground. Ultimately, his images remained static and arbitrary. He refuses to interpret. Christian Thielemann on the podium does not tell a gripping drama and thus the drama of jealousy remained musically undercooled and pale. José Cura sings as an aging Otello, broken from the beginning, the radiant, heroic youthfulness far in the past; he is damaged from the beginning. His tenor still has plenty of brilliance, though it can be smoky at times.” Wiener Zeitung, 21 March 2016

Otello, Salzburg, March 2016: “We are in the third act, Otello is highly infected by the jealousy virus and demands from Desdemona the fateful handkerchief. Somewhat lost, the two stand there, always at maximum distance from each other (and that is very far away on the stage in the Große Festspielhaus!) as possible. There can be no serious tension, only the juxtaposition of two monologues. The greatest emotion that director Vincent Boussard concedes to the two protagonists: sometimes they are allowed to throw themselves on the table or even climb up and walk like a catwalk around between the candles. With this scene, the general mood of Otello is actually sufficiently captured: overcooled, distant, far from a gripping narrated story. A completely irrelevant, fatalistic view of Verdi's musical drama. In the title role is José Cura, who develops quite a lot lyricism (the first act scene with Desdemona is truly memorable) but [the director has given him] no opportunity to develop the raging jealousy—in this production, there is simply no intensity and danger.” Dreh Punkt, 20 March 2016

Larger than Life

Christian Lacroix is not only a world famous couturier but, since the 1980s, he has also been designing costumes for opera, theatre and ballet. In an interview with the Salzburg Easter Festival, he recounts that working for the catwalk and the opera stage is not as different as you might believe. And he reveals what materials his Otello costume designs will be made of and which stylistic epochs they combine.

[Excerpt]

In which the fashion designer indicates his costumes will depend on the personalities of the actors....

When designing the costumes, do you focus on the figures of Otello, Desdemona and Iago, or are you clothing the performers: José Cura, Dorothea Röschmann and Carlos Álvarez? In other words, how important is the specific performer to the costume design?

Lacroix: This is the mistake I made as a beginner: only listening to the director’s point of view. For Così fan tutte, for instance, the director wanted a very young Fiordiligi, Dorabella, Ferrando and Guglielmo, quite modern adolescents, half naked on an Italian beach. Then when we discovered that the cast was not the right age, silhouette or behaviour. For me, it is now impossible to start designing any of the costumes without knowing the cast. You must have the singer or actor’s silhouette, style and personality in mind to begin work on the character they have to play. That’s difficult for some productions with several casts or repertoire pieces that last years and years with many different artists.

Otello is a powerful man, but he is also weak. Is it possible to illustrate the ambivalence of his character with costume, as well as its development during the opera?

Lacroix: Of course, with a kind of armour-coat and a heavy brocade carapace, but with the effect of the naked chest underneath or a very thin shirt like a second skin. We originally planned the costumes, make-up and hair for Johan Botha, but now we’ve had to change the designs to express this power and weakness according to José Cura’s personality.

Although the details in opera costumes are much less visible to the audience than haute couture in a fashion show, you seem to work in a highly detailed way for every single person on stage. Are you a stickler for detail?

Lacroix: When asked about what the difference is between couture and stage clothes, I used to answer that couture had to be un-noticed from a distance, but exquisite, special and subtle close-up, while costumes for the stage had to be expressive, loud and underlined from afar and not so detailed, elaborated or finished to couture quality. But I am lucky to be able to work with the best houses, like the Paris Opéra or the Comédie-Française, and now in Salzburg, where the workshops have such skill and know-how, with a couture-like way of working with the materials. So I can design for a large stage the same way as I used to work for the salons, runways and catwalks. And I think this is both visible from a distance and much better for the artists on stage.

The interview was conducted by Martin Riegler

Reviews!

We start as we always start when we have a batch of reviews, with a warning: much of what is written is in promotion of a political agenda rather than in support of artistic honesty.

This seems particularly true with high visibility venues like Salzburg.

With that in mind, we did fast summaries and computer assisted translations of all the reviews we could find and present them below. None of these should be considered definitive but should give you a general idea of how things went in Salzburg.

Note: these are computer enhanced excerpts and should not be considered definitive. They are offered to give a general idea of what is being said....

Nice Applause for Opening of Otello

Salzburger Nachrichten

20 March 2016

Dark like the heart of darkness was presented at the opening premiere of this year’s Salzburg Easter Festival. Giuseppe Verdi’s late work, the Shakespearean drama Otello, located in the Grosses Festspielhaus, is directed by Vincent Boussard, in a space completely devoid of light. At the end there was friendly applause for the good ensemble and some boos for the director.

In the title role, José Cura won the majority of the audience….

Note: these are computer enhanced excerpts and should not be considered definitive. They are offered to give a general idea of what is being said....

Kiss of the Death Angel

Christian Thielemann conducts Otello by Giuseppe Verdi in Salzburg. The conductor keeps it bleak from the outset because for him, the final double murder is simply inevitable... His is a celebration of death expectancy and a grandiose cult of the lethal. The Dresden State Orchestra are the Styx, breathing doom and destruction. The timbres previously colored are now even darker. In this Otello, there is no salvation to find and death is the only possible consolation.

Dorothea Röschmann adopts wholeheartedly Thielemann gloom as Otello. This Desdemona knows that she will be murdered, almost yearns for it, anything else would be a disaster. Other than Röschmann, however, Thielemann receives little support from the stage for his interpretation. This is due in part to Director Vincent Boussard. He meets Shakespeare's boiling spectacle from an extreme distance. He only hints, just as in epic theater, with emotions on the back burner. He offers the singers no compelling role concepts, at least there is no sign of it. Between fluttering cloths and often motionless at a mega long table while the dance-gymnastics of Sofia Pintzou as the black angel of death completely dominated.

José Cura as Otello takes the director's concept as a license for scenic laissez-faire. At his best, he captures the lyrical, intimate passages.

Note: these are computer enhanced excerpts and should not be considered definitive. They are offered to give a general idea of what is being said....

An Angel of Death and no Real Drama

A middle ground between table or catwalk across almost the entire empty stage, with tons of candles on it. The black Angel of death dances to a mysterious choreography: an elegant atmosphere for a first class funeral. But is it the right place for a marriage quarrel?

We are in the third Act. Otello is highly infected by the virus of jealousy and calls for the fateful handkerchief from Desdemona. The two are lost, standing the maximum distance away from each other (and that is very far on the stage in the great Festival Hall!). Since no serious quarrel can crystallize, we have only the juxtaposition of two monologues. This is the biggest emotion that Director Vincent Boussard allows his two protagonists.

This scene really captures the general mood of Otello, this year's production of the Easter Festival: cool, aloof, far away from a gripping story told. The invented Todesengel (dancer Sofia Pintzou) with black wings often carries fire in her hands. The angel is introduced immediately. Yes, it is a bad end for Desdemona and Otello. This we have always known. Actually the Director just wants to tell us that Otello and the Venetian blonde Desdemona are not a good match and the horrible end is thus foreseeable.

An abundantly inconsequential, fatalistic view of the music drama of Verdi. Perhaps it might be worthy of a discussion if musically the exact opposite is happening, when we would really be gripped. No a chance. Certainly in the title role José Cura, although offering a lot of lyrical singing (the first, intensely colored by the cellos in the scene with Desdemona is really memorable), is unable to offer the frenzied emotion which is part of the title role--because (in this staging and with this director) it simply lacks all intensity and dangerousness.

Christian Thielemann did not help the drama, focusing instead on Verdi's obvious curiosity after the current achievements of the Impressionists. Desdemona's Willow Song and Ave Maria did not seriously move anyone.

Audible resentment not only against the director but also against Dorothea Röschmann. Thielemann was applauded, even if he doesn't bring hailed one, even if he does not specifically bring Verdi (to the podium).

Note: these are computer enhanced excerpts and should not be considered definitive. They are offered to give a general idea of what is being said....

Easter Festival: Dark Otello with some bright spots

Black wall, a white door and an overly long table - that is the typical Boussard-opera production. Admittedly, this is somewhat pointed, but goes to the heart. Even with Giuseppe Verdi's late work everything is aesthetically like a Designer loft - and just as cold. Boussard's concept is best when the Frenchman visually shrink the huge stage of the Festspielhaus for the love and the murder scene.

The real problem, however, is that the singers Boussard guide are not only neglected, they are simply negated. Ultimately, he relies on simple ramp theater without interaction of the participants, concealed by the scantily scant illumination. The singers interact more with each other in concert performances.

In this picture the team of the singer attempted to add sense. Jose Cura - as conductor and director himself who is intimately familiar with Otello - stepped in the title role for their originally intended Austro-South African Johan Botha and presented his short-tempered commander with solid vocal line. Applause at the end for the entire ensemble...

Note: these are computer enhanced excerpts and should not be considered definitive. They are offered to give a general idea of what is being said....

Salzburg Easter Festival: Cheers for Otello

Director Boussard begins with the storm by floating a white giant sail over the orchestra pit, where Sofia Pintzou wraps up herself in it as she becomes the constantly accompanying (death) Angel. But at the first chord Desdemona and Otello appear briefly and kiss intimately on the empty stage.

There should have been a storm but there is not one, because Boussard has the chorus completely motionless behind the sail, irritating because of the powerful choral sound of the Saxon State Opera Chorus Dresden easily breaks through this transparent sailing scene. It is also strange that the citizens of Cyprus are dressed in Elizabethan costume with ruff, while the other protagonists dress in far more modern clothes.

The fourth act is the poignant revelation, even the most beautiful apotheosis of perfection musical drama.

Again, we are in the white-equipped room crypt like at the beginning without bed. The wedding dress is hanging above the door, Otello appears and when Desdemona turns away from it, it become a deadly embrace. This scene Cura sings very well - also the monologue "Dio mi potevi" Act 3: with particular expression, beautiful timbre and warm voice.

Note: these are computer enhanced excerpts and should not be considered definitive. They are offered to give a general idea of what is being said....

Otello in a Supercool Design

Thielemann searched for three acts for the line through the precarious music to balance between the dramatic attack and the intimate moments, packing a bold outline of the score that clearly has modern music dramatic aspects. There seemed a strange perplexity in sounds from the orchestra pit, not always perfect coordination in the ensembles and choral scenes (most peculiarly: the choir of the Dresden Semperoper), especially when Thielemann too often clearly gives in to his penchant for stretching the tempo, thus achieving more storage than drive. Only in the last act did the usual, finer tone quality magically arrive. But even there it was oddly cool emotions, with little compelling tension.

José Cura seemed to be holding back the big passion of Otello, evidently at the will of Director Vincent Boussard, creeping through the gigantic space like a tired, lonely loser. Nowhere was there recognition the sharpened psychological motivations or even the exciting narrative in the obligation to this lifeless arrangement.

Note: these are computer enhanced excerpts and should not be considered definitive. They are offered to give a general idea of what is being said....

Coffee with Otello

A disappointing production of the opera by Giuseppe Verdi.

So, that was a cozy Premiere. Dark enough on stage that one or the other could have quietly gone for a little nap. Such likable singers at work that you would have liked to go for a cappuccino at the famous Caffé Florian with the Venetian Moor and dinner with Iago. Such sweet sounds from the pit.

Giuseppe Verdi's Otello at the Salzburg Easter Festival: the perfect production when it comes to disturbing no one with any interpretation attempts to attract attention or generate well-being. Opera delectat.

You get little of the drama of the Shakespearean material. The intrigue of Iago are as dangerous as a boy’s prank. The murder of Desdemona happens almost causally, in the wake of a fierce hug. And afterwards, when Otello only leans against a wall as he learns about the deadly game with his jealousy and Desdemona gets up and departs with the angel of death, the work seems almost satirical.

José Cura is still a singer who goes to the limit, he has an Italian flair in his voice, and he sings some beautiful melodic lines. In the premiere he was not always precise in his intonation. As a performer, he is intense; however one cannot get rid of the feeling that arises that the intensity comes less from the direction but rather springs from his personality. His Otello is a brooder, and intellectual, almost a sage. He does not perform in blackface; in the first half, he is wearing a white shirt, in the second half a black one. One is happy watching him ...

Unfortunately, even Christian Thielemann remains on the surface. His Otello is embellished with little drama and is not even particularly accurate. For cappuccino, the orchestra provides the milk foam.

Note: these are computer enhanced excerpts and should not be considered definitive. They are offered to give a general idea of what is being said....

A murder like a hug - Thielemann Otello in Salzburg

Usually, the great opera performances of the Salzburg Easter Festival become the homage to Christian Thielemann, the CEO of the Sächsische Staatskapelle Dresden and legitimate executor of his former mentor, the festival founder Herbert von Karajan. At the premiere of Verdi's Otello at the start of the 49th Festival on Saturday evening in the Großes Festspielhaus, the applause was a bit more restrained than usual. Even a few boo's from the ranks were heard.

The orchestra played gorgeously, José Cura as Otello, Dorothea Röschmann as Desdemona and Carlos Álvarez as Jago, left little to be wished for, and the minimalist, poetic staging the Frenchman Vincent Boussard was at least not disruptive. The great love scene between Otello and Desdemona at the beginning and Desdemona death at the hands of Otello at the end, went to the heart.

Note: these are computer enhanced excerpts and should not be considered definitive. They are offered to give a general idea of what is being said....

Otello, Aging Husband in Erotic Distress

A silent opening scene of a few seconds immediately reveals the core of the drama: in pronounced chiaroscuro, the darkly dressed Otello and the light figure Desdemona meet - as complementary and yet incompatible principles. The fact that the orchestral storm waves break loose exactly when the two fall lovingly into each other's arms points the way to understanding Vincent Boussard's production in the Großes Festspielhaus: the outer plot recedes into the background, rather inner spaces are explored, states of the soul are unfolded, a dark fate is unrolled.

The strong light-dark contrasts pervade the whole evening, and ultimately replaces Otello’s dark skin: Boussard suggests the mechanisms of perceived erotic inferiority of an aging man and artfully fueled jealousy are regardless of times and cultures.

The international field of Otello singer is scary small. Jonas Kaufmann was probably only suitable, appropriate manner to deal with the game in a Festival demands (and prices!) but he planned his role debut in 2017. So, José Cura was brought in - a saviour in the emergency ….

English translation courtesy of José Cura

View on José's Official Web Site

AND HERE IS THE ENGLISH ORIGINAL VERSION OF THE KURIER INTERVIEW FOR THOSE WHO DON'T READ GERMAN.

Has your view of Otello changed over the years?

When I started to perform Otello, my hair was all black and now it is “salt and pepper”. Such change in me explains also the changes in my interpretation. Add to that, that in the meantime I have also directed the opera and that in April, for the Shakespeare anniversary, I will conduct it for the first time. I think I can humbly say that I am a very “in-depth” specialist of Otello today. No arrogance, just hard and long work.

There has been quite a vigorous debate about Otello recently, since the Metropolitan Opera stopped “black facing“ the singer…

Otello not only needs the skin color, but also a voice that matches the role. Therefore, in opera is quite difficult to avoid the white casting. I understand the good intention, but I also see a “hidden trap” in it: If only black guys can do black roles, that means only white people can do white roles. So a black actor would never be able to portray Hamlet? Or Richard the III? Or…? This new “politically correct fashion” provides the best excuse not to engage black professionals… If you ask me, that stinks more of racism than making-up your face. Some of my black friends are really worried with this perspective.

The Osterfestspiele are celebrating their 50 year anniversary in 2017. It is – and always has been – a luxurious festival. In which way do you think does that kind of luxury fit into today’s society?

In the same way a Rolls-Royce fits in a garage… There are many brands of cars and each person can buy the one that suits his economy. Osterfestspiele is a luxurious rendez-vous of many of the same fortunes that are sponsoring other opera houses with “normal” ticket prices. So far so good.

Opera seems to be changing a lot these days. Some opera houses are becoming more like museums, others are more daring. Do you think opera is in crisis mode?

The world is in “crises mode”. No way to run away from this huge moment of adjustment/disadjustment. I have faith in society’s good sense, but it may take a long time.

What do you think is necessary to attract a younger audience?

Intellectual honesty, truth of feelings. No matter the aesthetic proposal, provided that you don’t lie to them, the young people will follow you.

Famous tenor Placido Doming is now taking on baritone roles. What is your opinion about this decision?

An artist has the right of presenting his creation the way he wants. On the other hand, the public has the right to follow or not the artist’s proposal.

You are also active as conductor. Which importance will that have for you in the future?

Composition and conducting are my background. My singing career has enriched my approach to it. Therefore, nothing is more natural for me than ending with the career as full time conductor I dreamt about decades ago. But this is beyond my power. Anyhow, I cannot complain: I am not conducting as much as I would like to, but I am keeping my baton in good shape. Also my compositions are now being premiered: Magnificat last February and Ecce Homo next March 2017.

Some of your colleagues are aiming to become the head of an opera house. Is that something you are thinking about?

Yes, but probably not for the same reasons… After more than 30 years of stage I can proudly say that there is a style that defines my artistic credo. Working full time with a theater would be a good way of “inoculating” my credo into a company that wants to identify with it. Some will read this lines thinking I am naive, but well…

How important are the looks in today’s opera?

The “looks” can be very important when they are not a “goal” in themselves but a “vehicle”. Myself, long ago I had been sold as “the sex symbol of opera”, so I have some “authority” to talk about the matter: If you want to do “just” a commercial career the kind of we see more and more today, to be good looking can make a difference. But if you want to do a career based on your talent and, after years of hard work, be called an “Artist” with capital A, then the conversation is different. Of course, our public wants to dream, and if the singer “looks” the role, better. But there are many ways of dealing with this.

José Cura
10 - 03 - 2016

Jutta's eyewitness report of the dress rehearsal:

First of all, I can confirm that - in spite of his sickness - José did an excellent general rehearsal yesterday. We were there and we feared for him, but he did it!

Considering that all the singers had problems with their health last week it was a remarkable rehearsal.

But the production is really awful. We can't remember having seen - please excuse me - such shit in a long time! We think Verdi would turn in his grave! And the costumes..........dreadful, even if Christian Lacroix designed them. In my opinion, they don't go well together. And the orchestra was too loud.

Therefore, don't be sad for not coming to Salzburg, although I can understand that seeing and hearing José is always worth the travel. But in our opinion it is insolent to demand such high price tickets for such a production.
Now we hope that he will get well soon, that's the most important thing!!!

Otello, Salzburg, DVD: At the head of the cast, José Cura’s Otello is in good shape – he’s been singing the role for nearly two decades now – and his tenor can still deliver plenty of thrills. Gramophone, August 2017

Otello, Salzburg, DVD: “What I really liked about the singing and acting of Otello, José Cura, was the range, subtlety and depth. Cura presents a fully human, attractive but deeply flawed Moor. Cura is endlessly fascinating. [An] earlier Salzburg recording was the BBC’s top pick for an Otello video (before this one came out of course). I think this one beats it on every count.” OperaRamblings, 31 May 2017

Otello, Salzburg, DVD: “José Cura gives a persuasive portrayal in the challenging role of Otello the red-blooded Moorish General. Impressive is the tenor’s darkish and weighty low range in a role where so much expression is required rather like Sigmund in Die Walküre. Cura’s tone is not perfect especially in his high register which can be uneven but his capacity for communication is striking. Convincing is how much Cura makes of this tempestuous character with marked emotional insecurities that eventually overwhelm him, descending into total despair. With José Cura in such fine form the feeling of engagement and artistic integrity is striking…” MusicWeb International, July 2017

Verdi’s Otello and the Poet Behind the Opera: Shakespeare

**Verdi’s Otello and the Poet Behind the Opera: Shakespeare**