Bravo Cura

Celebrating José Cura--Singer, Conductor, Director

 

 

 

Operas:  Otello in Barcelona

January  & February 2016

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Otello in Barcelona

 

 

 

Theater:

Gran Teatro del Liceu, Barcelona

La Rambla, 51-59
08002 Barcelona
Tel. 93 485 99 00
Fax 93 485 99 18 
 

Website:  http://www.liceubarcelona.cat/en.html

 

 

 


 

 

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Ticket Sales

 


Listen Live: 

Radio Clásica

Website:  http://www.rtve.es/radio/radioclasica/

Date:  Tuesday, 26 January 2016 

2200 (Europe) // 1400 (US East Coast)

 

Transmitted live from Gran Teatro del Liceu, Barcelona


VERDI: Otello.

Otello (J. Cura), Desdemona (C. Giannattasio), Jago (M. Vratogna), Cassio (Alexey Dolgov), Roderigo (V. Esteve Madrid), Lodovico (R. IaLcid), Emilia (Olesya Petrova), Montano (Damián del Castillo)

 Coro del Gran Teatro del Liceo, Orq. Sinf. del Gran Teatro del Liceo. Dir.: P. Auguin.

 


 

 

Promo Video:

 

Click on photo above

 

 


 

2006 Liceu Otello with José Cura

Video Excerpt

 

 

Click on photo above

 

 


 

Cast:

 

 

Media

 

 

Notification that Argentine tenor José Cura would take the lead  in Otello at Gran Teatro del Liceu after Aleksandrs Antonenko withdrew for personal reason. 

 

 

 

 

 

 

 

 

 

General concept translation:

 

A new production of Giuseppe Verdi's Otello with tenor José Cura in the title role, comes to the Gran Teatre del Liceu with an impressive staging representing a refugee camp and incorporating a total of 85 beds on stage. With this work, directed by Andreas Kriegenburg and the musical direction of Philippe Auguin, the Barcelona opera institution opens a year of  Shakespeare, combining this work in February with Rossini's version.

The artistic director of the Liceu, Christina Scheppelmann, accompanied by Philippe Auguin, the Albanian soprano Ermonela Jaho who will be singing Desdemona, and co-director Claudia Gotta, discussed this work this afternoon...  

Gotta revealed that six years ago, when Kriegenburg started thinking about directing Otello, he saw the theme of war was essential and even influenced all relations that exist between the different characters, whether between Otello and Desdemona or between Otello and Iago. But as it is more difficult to show a battle on stage than in film, in the end he opted to "show the results of the war, including refugee camps"--a very topical issue today but not six years ago when this project was conceived.

 

On this occasion, therefore, Otello will move between the beds of a refugee camp, but "the story is the usual one" with a protagonist who is an authoritarian, able to control every man while being unsure in his own life--a fact that will be by Iago. Desdemona and Emilia become volunteers and the rest of the characters are confined there after the war.

This opera, produced by the Deutsche Oper Berlin, also has a major role for the children chorus.... Gotta commented they remain on stage throughout three acts because "Andreas Kriegenburg wanted to show how war can affect the young..."

Soprano Ermonela Jaho, debuting as Desdemona, acknowledged that when she began working with the choir, she "shed tears because they make a very powerful work," without forgetting that "music is a  universal language, capable of transmitting the power of the most powerful feelings like envy and love." Musical director Philippe Auguin stressed that Verdi organized everything "to maximize the intonation of the text," seeking  "orchestral tempos and interventions that were ideal to highlight the role of the word."

 

The work, which will run until the 7th of February, will have José Cura in the lead of some of the performances...

 

   

 

Note:  This is a machine-based translation.

José Cura uses language with precision and purpose;  the computer does not.  

We offer it only a a general guide to the conversation and the ideas exchanged but the following should not be considered definitive.

 

"My Otello has gained physical sincerity with age"

José Cura, tenor, stars in 'Otello' at the Liceu

La Vanguardia

15 Jan 2016

 The Argentine-born tenor reprises the role of the moor of Venice in the version of Verdi opera which opens January 21 at the Teatre del Liceu.

 

 


José Cura returns, and with him comes all the strength and intensity with which he gives life to operatic characters.  Especially in verismo. The Liceu once more opens its doors to the Argentine tenor (nationalized Spanish, as he has lived for 25 years in Europe) as a protagonist of this Verdi Otello premiering January 21. Since the first performance as Samson in 2001, Cura is convinced that the feeling of "chemistry" with the Liceu is total. And he expects that his return, with the new direction of the theatre, is "the beginning of a more intense relationship". For now, he is revisiting one of the most successful roles in his career. And he does so in a production from the Deutsche Oper Berlin which recreates the war context found in Shakespeare text by putting the focus on a refugee camp. Cure answered questions by mail.

Are you jealous? Can you understand the folly of Otello?

Jealousy is born of insecurity and applies not only to relationships. The fragility of the situation of Otello depends not only on jealousy, but a series of very complex factors and worrying force: the drama of the "foreigner" accepted, used and then discarded, no less the serious drama of xenophobia, so sadly current, or gender-based violence, to name a few. By to answer you: Yes, I understand it because it's my job. No, I don’t relate to him.

But do you empathize with the characters to interpret them as some actors in Hollywood?

If we define "empathize" as being "tuned to emotions to another", the answer is yes. I think that it is the obligation of the actor not to be afraid to manipulate both the beauty a character and his "dark" side. But with gloves! Not for "empathize" it must end in the Madhouse.

How face the revisit that role? You like to go to the source, to Shakespeare?

I've been performing and revisiting Otello for nearly twenty years... It is, fortunately, a never ending story... I admit I drank in Shakespeare from the first day I started to study the work, but without neglecting Boito, who, admittedly, did such a masterful job of synthesis that some scholars suggest his text, at times, exceeds the Bard.

What do you now offer regarding Otello over what you did a decade ago in the Liceu? Does it upset you to return to roles which were so bright in the past?

Within the leeway given to me in this production, my Otello today has a physical sincerity that I did not have when I was younger. Recently, a critic noted the change in my body language. I liked to be noticed for something so important. A singer's voice changes daily, let alone a distance of 10 years times! According to taste, for better or for worse. It is up to the audience knowledge to enjoy the serenity of the expressive maturity of the artist, which, like the maturity of man in general, tends to be indirectly proportional to its physical beauty.

What of the national benchmark which is Plácido Domingo in Otello in his facet as baritone?

In a world increasingly neurotic, one which seeks to control everything and everyone, we forget that it is a right of the artist to express himself as he deems appropriate at a time of his life, claiming freedom of expression. Society should not try to "control" this right, and less with the claim of catalogue. You can refuse to follow a change, but you cannot deny that such change is their right.

Have you changed your interests in opera? What are the most enjoyable aspects of your art now?

My artistic interests in general have not changed. If so, the serenity that comes from knowing that you can live doing what you like, that I can get back to my roots as a musician, to composition and conducting, in addition to be developing with satisfaction the facet of stage director and set designer, in which I’ve been for almost ten years since my first production in Croatia in 2007 until today, when I have just released my production of La Bohème in Stockholm with success.

And do plan to continue with it is alternative career of reggista/director?

I hope so, health and interest by "industry". Years pass and regardless of the vocal ability, which takes its natural course, I feel "uncomfortable" as an actor every time I am asked to embody the roles of the "little boy" which are identify with the tenor. At 53, and hopefully adding, to claim to have the age physical and intellectual age of a Rodolfo, a Manrico, a De Grieux, to name a few, verges on caricature. Today, more than ever, I identify with Othello, with Canio, with Grimes, but even these are roles in which the tyranny of time is imposed and, sooner or later, have to leave for reasons of strength. By then, which I hope is not very soon, I hope to have a career as a renowned conductor and which enjoy as much as the singer, as a happy alternative.

How about the mounting of the Deutsche Oper Berlin, where he has already participated?

I may or may not agree with Andreas Kriegenburg, but theatrically it is certain the drama works.

What is your opinion of the current opera scene? Are we conservatives?

The reason for keeping rooms open is interpretation, understood as a "whole". Being conservative is understandable when it comes to rebelling against the nonsense that usually reigns, but that can be dangerous because to repeat what has already been done - to avoid friction- carries the risk of killing the raison d ' être of our scenarios. Is true that attempting it results in mistakes, but not doing means you die of stagnation. Do it right, correct. This is the ideal formula.

 

Computer-based   Translation

 

 

 

 

This is a general guide to the conversation

 

 

 

 

This translation  should not be considered definitive

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   
   

 

 

 

 

   

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Last Updated:  Saturday, February 06, 2016  © Copyright: Kira