Complete biography
For music lovers, it is a rare treat to come across an original: an artist whose talent, vision, and integrity set him apart from the rest; a singer whose distinctive voice is instantly and indelibly lodged in one's memory; an actor whose presence on stage breathes fresh life into tired characters; a conductor who, like the singer and the actor, cannot conceive music without a full dramatic meaning; a man whose passion and commitment are rivaled only by his intelligence and sense of humanity. Such an artist is José Cura.
Born in Rosario, Santa Fe, Argentina, on 5 December 1962, José Cura's musical talent matured quickly: at 12 he was playing guitar under Juan di Lorenzo's guidance; at 15 he debuted as a choral director; and at 16 he began studies in composition with Carlos Castro and piano with Zulma Cabrera. In 1982, he entered the School of the Arts at the National University of Rosario to continue his musical education; the following year he became assistant conductor for the university choir. At 21, he won a grant to study at the Teatro Colón in Buenos Aires where he remained for six months. Cura continued to sing in the opera chorus while focusing on composition and conducting until 1988, when he began working with Horacio Amauri to develop proper singing technique.
Determined to make a career in opera, José Cura moved to Italy in 1991 and began voice training with Vittorio Terranova. In February 1992 he made his debut in Verona as the father in Henze's “Pollicino.” In Genoa he played Le Remendado in Bizet's “Carmen” and the Capitano de ballestrieri in Verdi's “Simon Boccanegra.” Cura was engaged in March 1993 for his first major role, starring as Jan in the Trieste production of Bibalo's “Signorina Giuglia.”
Signorina Giulia, Trieste: 'Jan, the servant, perfidious and cynical, was the young Argentine tenor José Cura, extraordinary as a singer-actor.' Trieste Oggi, April 1993.
In the same year, he made his debut in the Straus operetta, “Ein waltzertraum,” and attracted critical attention for his performance as Albert Gregor in Janacek's “The Makropoulos Case.”
Cura began 1994 with a series of highly successful debuts: Ismaele in Verdi's “Nabucco” in Genoa and Don Alvaro in Verdi's “La Forza del Destino” in Turin were followed with Ruggero in the world premiere of the third version of Puccini's “La Rondine” (Turin) and Roberto in the same composer's rarely performed first opera, “Le Villi” (Martina Franca); the latter performance is particularly noteworthy for providing Cura's first complete opera recording.
Le Villi, Martina Franca: 'The Argentine tenor José Cura, a truly great performer with a vocal instrument beyond the common, very strong and expressive, imposed himself in the role of the main character, showing that he is an authentic spinto-drammatico tenor, a register today quite rare. Cura, besides a big and beautiful voice, has the stage power of a true actor.' Il Quotidiano, August 1994
La Rondine, Turin: 'The future looks bright for the Argentine tenor José Cura, who has a lyrical voice with brilliant top notes. The role showed off his considerable stage presence.' Opera, 1994
In November, he made his US debut in Chicago as Loris Ipanov in Giordano's “Fedora,” opposite Mirella Freni; he subsequently reprised the role in Trieste in 1995, in London in 1996, in Vienna in 1997 and 1998, and in Tokyo, Zurich and Lecce, Italy, in 1998.
Fedora, Chicago: 'May God bless the mother that gave you birth.' Exito, December 1994
Cura capped the year with a gala concert at the Teatro Colón, marking his solo debut in Argentina's most important musical venue.
He continued adding roles to his expanding repertoire in 1995. In February, he returned to Italy to star as Paolo il Bello in the Palermo production of Zandonai's “Francesca da Rimini.” In June Cura debuted in London's Royal Opera House (ROH), Covent Garden, in the title role of “Stiffelio” on the opening night of the Verdi Festival.
Stiffelio, London: 'What made last night particularly thrilling was the Opera House debut performance of Argentinean tenor, José Cura, in the title role... His Stiffelio sucks the audience into a personality festering with piety, priggishness, hypocrisy, and irrepressible rage.' Evening Standard, June 1995
Stiffelio, London: 'The Argentine tenor is tall and imposing of stature, and the top of his voice is thrillingly free and secure…He has a nice line in flashing eyes and flaring nostrils, and neatly suggested the man's fundamentalist smugness in the early scenes. Above all there is an elemental power to his stage persona which is well suited to the role.' The Times, Jun 1995
Stiffelio, London: '... Cura is a real find, an Otello in waiting.' Independent, June1995
In July he sang his first Cavaradossi (“Tosca”) at the Puccini Festival in Torre del Lago. That September he made his first appearance on stage in Paris in the Opéra Bastille's production of “Nabucco” and in November, he starred in his first “Fedora” in Europe at Covent Garden.
Nabucco, Paris: '... 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
Fedora, London: '[Cura] is a superb actor, a convincing-looking hero and an intelligent, spontaneous and gifted musician…I have no doubt that Cura, with his unusually distinctive sound and equally abundant talent, will also rise to the dreaded super-tenor status as special hero by appointment to the cognoscenti.' Evening Standard, Nov 1995
In 1996, Cura built upon his burgeoning reputation and solidified his position as one of the most promising tenors of his generation. Following his portrayal of Osaka in Mascagni's allegorical opera “Iris” at the Rome Opera in January (available on CD), he returned to London to star in Saint-Saëns' “Samson et Dalila,” a role for which he has received universal acclaim. For his debuts in Los Angeles and San Francisco, Cura added two roles to his repertoire, Pollione in Bellini's “Norma” and Don José in “Carmen.”
Norma, Los Angeles: '...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. But 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 commandingly 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, September 1996
Norma, Los Angeles: '... 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
Carmen, San Francisco: 'Blessed with dashing good looks and a dancer's presence, the young Argentine tenor made a riveting impression. If his technique is a little reckless, the thrill of the voice is undeniable.' San Francisco Chronicle, October 1996
After performances in Verdi's “Il Corsaro” in Turin and Puccini's “Tosca” in London, Cura traveled to Melbourne and Sydney to take part in the Puccini Spectacular, a show specifically developed for his Australian debut.
Tosca, London: 'The young Argentinean super-tenor-to-be has already made two immensely impressive Covent Garden role debuts this season, first as Ipanov in the gripping revival of Fedora and more recently as Samson in Saint-Saëns' opera. Cura's performances are always profoundly moving, expertly paced, and vividly acted, his Cavaradossi is no exception.' Evening Standard, April 1996
Puccini Spectacular, Sydney and Melbourne: 'By popular acclaim the night belonged to José Cura, the audience roaring its approval of the personable young tenor at the curtain calls. He is highly impressive in straight-from-the-shoulder passages. The powerful timbre and vigorous delivery in such sections tends to outshine his equally effective interpretations of E lucevan le stelle and ardent, non-hysterical Nessun dorma.' The Age, May 1996.
Other key roles included Le Villi, Leoncavallo's “Pagliacci” and Giordano's “Andrea Chénier” at Opernhaus Zurich, Mascagni's “Cavalleria Rusticana” at the Ravenna Festival (conducted by Riccardo Muti and broadcast on Italian television), and “Pagliacci” at Amsterdam's Concertgebouw (conducted by Riccardo Chailly and televised live). In December, he starred in the Puccini segment of the BBC “Great Composers” documentary, telecast in December 1997.
Cura's debut at Milan's La Scala came in January 1997, when he starred as Enzo in Ponchielli's “La Gioconda.” Cura returned to La Scala in June 1998 as Des Grieux in Puccini's “Manon Lescaut” (televised and recorded for CD release) and again in February 1999 for “La Forza del Destino,” both conducted by Riccardo Muti.
La Forza del Destino, Milan: 'Mr. Cura...[gave] a shattering portrayal of his strange character, so honor-bound, so prone to self-abasement, so fierce of temper. He probed especially deep in the haunting battlefield duet, 'Solenne in quest' ora." […] Mr. Cura gave the gloomy opening phrases an unearthly lightness, as if his soul were already hovering at the mystic threshold, but in the serene melody that follows, he let the light go out, steeping in solemnity a moment more conventionally played for the false comforts of nostalgia.' New York Times, February 1999
With a growing international reputation and increased critical interest, José Cura made a pivotal career decision in 1997: at Turin's Teatro Regio, at age 34, Cura debuted in Verdi's “Otello,” telecast live on Italian television. Under the baton of Claudio Abbado, Cura offered a bold, brash, brilliant Moor, carefully pieced together through literary and historical study, musical exploration and psychological analysis-all hallmarks of the painstaking preparation José Cura continues to bring to role development. Audience and critics alike were riveted by his unconventional but compelling characterization; La Nazione ran the headline “José Cura: a new Otello is born!” Opera houses around the world agreed, offering Cura the opportunity to take his Moor to London, Washington, Madrid, Trieste, Munich, Buenos Aires, Nice, Paris, Vienna, Zurich, Warsaw, Tokyo, and Florence. His presence in this role is an invitation to the extraordinary, making him one of the most eagerly sought-after Otellos of his generation.
Otello, Turin: 'This stalwart Argentinian tenor, with an impeccable accent, with a dark, suave vocal timber, also possesses a musical discipline without a doubt rare among his colleagues, was as last a 'real Otello': he recalls with intelligence the best of earlier singers but with a communication ability and personality that easily enables one to predict a long and great career for him.' La Nazione, May 1997
Otello, Munich: 'The evening moved from one superb scène to the next, with Cura gaining in intensity until his passion totally engulfed the audience.' Opera News, June 2000
Otello, ROH: 'Esultate was near ideal: fearlessly secure, confidently phrased, altogether imposing...Cura is the Otello of today and tomorrow...his timbre is as handsome as his appearance.' Opera, July 2001
Otello, ROH: 'José Cura is a phenomenally gifted artist: seldom can anyone have made the hideously difficult title role sound so easy to sing, or so rewarding in pure vocal terms.' The Times, April 2001
Otello, Barbican Center: 'José Cura's concert performance of Otello ... must be one of the most passionate and focused pieces of music/drama in London at the moment. He has a voice teetering on the verge of breathtaking greatness and a mesmerizing stage presence.' Metro Live, April 2001
Otello, Trieste: 'Cura returned last night in the full glory of his artistic and vocal efficiency, which let him show us an Otello that was not only moving but tormented by his agitated expressive intentions. Perfect on the acting plane, Cura moved us with his beautiful, suave voice.' Il Giornale della Musica, August 2001
Otello, ROH: 'José Cura is a primal Otello, an emotional time bomb whose triggering unleashes unnerving mood swings between dangerous stillness and a crazed anguish.' The Stage, April 26, 2001
Following the phenomenal success of his Otello debut, Cura starred in “Cavalleria Rusticana” in Bologna, “Tosca” in Torre del Lago, “Fedora” in Vienna, and in an acclaimed “Samson et Dalila” in Turin. He made his first appearance as leading man at the Arena di Verona in summer of 1997 in “Carmen.” He headlined in a Night of the Stars Gala in London and concluded the year with a series of sensational concerts in Germany.
“Aida” was added to Cura's repertoire in January 1998 when he played Radames in Japan; he was subsequently invited to open the newly refurbished Teatro Massimo in Palermo in the role. In February, he starred in a concert version of “Andrea Chénier” at the Royal Festival Hall in London.
Andrea Chénier, London: 'He also has one of 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: '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.' Electronic Telegraph, March 1998
He returned to the Verdi repertoire for “La Forza del Destino” in Marseilles and “Don Carlo” in Japan. In November he appeared at the Washington Opera as Samson. Cura concluded the year with a remarkable Luigi in a televised concert version of Puccini's powerful “Il Tabarro” at Amsterdam's Concertgebouw.
Samson et Dalila, Washington: 'There can be no denying that this is a young singer with extraordinary gifts-combining a full, ringing and powerful tenor voice (complete with marked baritonal shadings and just a hint of the trumpet) with a commanding and athletic stage presence…the aria 'Vois ma misere' was sufficient to prove that Cura's singing is more than merely loud and that he is capable of some ravishing legato phrasing.' (Washington Post, 1998)
Firmly entrenched as one of the great modern voices, in 1999 José Cura returned to Paris for “Carmen,” Milan for “La Forza del Destino” and Verona for “Aida” (televised - the first opera ever to be broadcast live over the internet). The year ended superbly, with his debuts at New York's Metropolitan Opera in “Cavalleria Rusticana” as only the second tenor in the Met's history to make his debut on opening night (the other having been Caruso in 1902) and at Madrid's Teatro Real in “Otello,” conducted by his long-time friend and mentor, Maestro Luis Garcia Navarro.
Cavalleria Rusticana, New York City: 'Cura appeared in Mascagni's "Cavalleria Rusticana," a big wet sponge of an opera in which spasmodic arias lurch from sob to sob. It's difficult to gauge an artist's finesse in such a rough-hewn score, but there was no question that Cura commanded the house. His dark, thickly sinewed tenor - like Domingo's, a baritone in disguise - lent itself well to Mascagni's hearty sentimentality and to the role of the brash philanderer. He had energy, power and - never underestimate this - a macho stride.' All Edition, Sept 1999
Cavalleria Rusticana, New York City: 'Cura presents a picture of swaggering masculinity and commands a voice to match-a clear, focused tenor that carries well, rings nicely at the top and generates considerable emotional heat.' New York Post, Sept 1999
Cavalleria Rusticana, New York City: 'Cura, a figure of distinct stage presence, seemed to have absorbed Turiddu's character, feeling how such a macho youth would behave and express himself-his guilt tinted with bravado and vice versa. The voice, dramatically shaded, has a nice burr to it, with overtones of both menace and sensuality, well suited to freewheeling verismo.' Opera News, December 1999
In 2000, José Cura sang Otello in Washington and starred as Alfredo in “La Traviata a Paris,” a groundbreaking production staged in authentic Paris settings while being telecast live around the world; a companion CD is available.
Otello, Washington: 'When Desdemona betrays him, he writhes like a crushed worm. But when he glares at his enemies, bellowing and spitting, you can almost smell the gamey aroma of a gladiatorial arena.' The Globe and Mail, March 2000
La Traviata a Paris: 'As Alfredo, Cura proves again that there is no more exciting young tenor on the scene today. His dashing looks and heroic timbre, the impulsive thrust of his singing and his attention to words come together in a complex portrait of a man caught in a maelstrom of emotion.' San Francisco Chronicle, August 2000
In December he sang Manrico in “Il Trovatore” at the Teatro Real, again under the baton of Maestro Garcia Navarro. That year he also sang Cavaradossi in two spectacular outdoor productions of “Tosca,” at the Temple of Baalbeck (Lebanon) and in Bari (Italy).
Il Trovatore, Madrid: 'Navarro's musical understanding and interpretation corresponded extremely well with that of the singers, particularly with José Cura's. This exceptional singer represented the exact opposite of a singer suffering from an image neurosis, standing close to the orchestra pit, belting out top notes at the tope of his lungs. Cura took pains sticking to the score; top notes were not held excessively and there was no shouting. Instead, the tenor excelled in his variably-nuanced, logical, and at times surprisingly baritonal color of voice, in well-considered differentiations as well as in his involved, passionate acting--a near perfect choice for this role.' Das Opernglas, February 2001
In 2001 José Cura appeared in numerous special performances and opera productions honoring the Centenary of Verdi's death, including “Otello” at the Wiener Staatsoper on 27 January (the date of Verdi's death), Paris' Théâtre du Chatelet, London's Covent Garden, Trieste's Teatro Verdi and Zurich's Opernhaus. He sang in performances of “Aida” in Greece and Japan and created a memorable Don Carlo in Zurich. He gave two concerts with soprano Daniela Dessi celebrating Verdi's art at the Barbican Centre in London (available on DVD) and shared the concert stage with Renato Brunson in Parma for an evening of Verdi arias and duets.
Otello, Chatelet: 'Cura gave notice from his initial entrance that he is a serious contender for greatness in this role of roles.' Opera News, July 2001
London, February 2001: 'Cura wins hands down on musical talent alone... The sound is dark and thrilling, his delivery ballsy and impactive.' The Guardian, March 2001
Don Carlo, Zurich: 'Elbows held tight against his torso, he portrayed Carlo as an introspective neurotic, an unloved child doomed from birth, baring his soul with his first words-Io l'ho perduta-in the burnish glow of his voice. It was hard to resist his proud vocal thrust, and he caressed phrases eloquently, especially in the insinuatingly sung soft passages.' Opera News, May 2001
Otello, Zurich: '[T]his is a complete Otello, in his tenderness, in his wildness, in his blindness. And for each of these feelings, José Cura finds the true suitable vocal expression from a cry to a silent weep. Excellent.' Zurichsee Zeitung, September 2001
Another highlight of 2001 was Cura's unforgettable stop in Berlin for the Open Air Classic concert series; the inimitable talent took the venue by storm, leading to long-ringing applause and rapturous critical acclaim:
Berlin, July 2001: 'Now he has finally been in Berlin, José Cura, the new star in the Tenor sky, the Latin lover with the power voice, the singing hope of the 21st century. The Three Tenors are dead. Long Live José Cura!' Berliner Morgenpost, July 2001
Cura continued his stellar run of Verdi productions into 2002, when he starred as Manrico in the ROH production of “Il Trovatore” (available on DVD), reprised “Otello” in Zurich, and brought his Moor to Warsaw for a special, one-time-only performance.
Il Trovatore, London: 'Cura's Manrico was an outstanding achievement, technically unimpeachable (he crowned Di quella pira with a couple of formidable top Cs) and often elegant. Taking all four phrases of 'Riposa, o madre' in the final scene in one breath not once but twice is going beyond the call of tenorial duty. Such diligence helped him create a character of alternate bravado and lassitude, a romantic hero doomed from the start to failure and ignominious death.' Opera News, August 2002
He also appeared in Tokyo in “Tosca,” Vienna in “Pagliacci,” and London in “Samson et Dalila” in a concert version at the Barbican Centre under the baton of Sir Colin Davis.
Pagliacci, Vienna: 'In the role of Canio, Cura put emphasis not on superficial brilliance but on a subtle and sophisticate interpretation of the title role, and in that he offered an exemplary model of vocal and dramatic excellence.' Die Presse, Jan 2002
Pagliacci, Vienna: 'Cura is intense, versatile. Dynamically and dramatically he turns the comedy into tragedy; the burnished splendor of the high notes is accompanied by instances in which Cura develops the vocal line veristically…' Der Standard, Jan 2002
Tosca, Tokyo: 'Brutally questioned, bleeding, languishing in jail, dragged to the shooting-ground, "Beau" Cura rendered his role with the utmost refinement, both vocally and in his acting, thus reaping a most deserved acclaim -- to say nothing of the repeated "bravos" at such climactic moments as E lucevan le stelle, with its sobbing finale...the most enjoyable Tosca to be heard or seen during the last decade.' Classics Today, June 2002
Samson et Dalila, Barbican: 'A palpable throb pulsed through the audience around me ... each time Cura slid on to the stage.' The Observer, Dec 2002
Samson et Dalila, Barbican: 'The way his voice filled and thrilled the hall will be an abiding memory.' The Mail on Sunday, Dec 2002
Operas performed in early 2003 included “Otello” (Tokyo), “Don Carlo” (Zurich) and “Tosca” (Vienna). In June, Cura debuted as Calaf in the Arena di Verona production of Puccini's fantasy opera, “Turandot;” critical and popular acclaim was instant and overwhelming as Cura triumphantly took his place among a handful of active tenors able to negotiate this vocally challenging role.
Turandot, Verona: '[José Cura] fills up the Arena with two words, "all'alba vincerò," like a challenge to the entire world, singing supine, with the attitude and the pride of an ancient Roman.' Il Corriere della sera, June 2003
Turandot, Verona: 'José Cura... sings an impeccable Calaf and in Nessun dorma a high B which others can only dream of.' Kurier, June 2003
Turandot, Verona: '… he staked everything on one card in Nessun dorma and mastered this, his test, with great bravura. The audience, overwhelmed by this brilliant performance, clapped and cheered while he was still singing the last note.' Süddeutsche Zeitung, June 2003
Turandot, Verona: 'Sometimes, all you want to say about an evening at the opera is 'Wow!'…As Calaf, José Cura's charisma shone from the start, with the size of venue seemingly a perfect match for this great artist. His melodious vocals, with beautifully held top notes, were expertly controlled. Nessun dorma was fresh and true, sung with charm and ease - in the spirit of the night, rather than as a challenge or with gusto, as is often the case.' Opera Now, September 2003
Turning to the French repertoire, Cura also presented his passionate and dangerous Don José in a one-time performance of “Carmen” at the Arena, followed by a gala, semi-staged performance of “La Traviata” that left the arena audience on their feet, demanding more.
José Cura is a multi-talented artist, with notable achievements on the podium and the concert stage as well as in opera houses. An exceptional conducting talent, he accepted a three-year assignment as principal guest conductor of Sinfonia Varsovia, a position previously held by the late Lord Yehudi Menuhin, in early 2001. Cura inaugurated his partnership with a spectacular concert in Warsaw in November.
Warsaw, November 2001: 'After the first collaborative performance of José Cura and Sinfonia Varsovia at the National Philharmonic the skeptics must become silent. The temperament and charisma of the Argentine tenor, combined with the ensemble's perfection, may bring many interesting artistic results.' Wprost, November 2001
Warsaw, November 2001: ‘...Sinfonia Varsovia, in an enlarged ensemble, played sensationally under Cura's baton. The homogenous strains of the entire assemble was combined with the clarity of individual instruments' play. The polished solos, especially of the clarinet and oboe deserved the highest praise...’ Trybuna, November 2001
Sinfonia Varsovia: ‘...It would be difficult not to notice the excellent rapport that José Cura has with the Polish orchestra. Under his baton the instrumentalists play freely, there is this wonderful stress-free atmosphere...’ Slowo Polskie, January 2002
Cura subsequently led his orchestra in a series of highly acclaimed performances of such symphonic works as Respighi's “Pines of Rome,” Rachmaninov's Second Symphony and Beethoven's Choral Symphony No. 9. His recent recordings--Rachmaninov's Symphony No. 2 and “Aurora,” a collection of opera arias--feature Cura conducting the Polish ensemble. A favorite guest conductor of orchestras across Europe, he directed an exuberant New Year's concert in Budapest to bring the year to a triumphant close.
In February 2003 José Cura made operatic history by first conducting “Cavalleria Rusticana” at the Hamburgische Staatsoper and then stepping on stage after intermission to sing the role of Canio in “Pagliacci.” Both conductor and singer were met with tumultuous applause and critical praise.
Cavalleria Rusticana, Hamburg: (Conductor) 'Cura's approach was very clear: with firm control he had the orchestra create intense, dramatically charged musical lines and was always attentive to the needs of the singers, showing his sure feel for the sound balance between orchestra pit and stage.' Opernglas, April 2003
Cavalleria Rusticana, Hamburg (Conductor): '…he inspired the orchestra to give a voluptuous, sensuous performance that at times had an almost Latin flair and spirit.' Hamburger Abendblatt, February 2003.
As a concert performer, José Cura has successfully integrated the roles of singer and conductor as demonstrated in his groundbreaking performance in the Vienna Konzerthaus in November 2002. Seamlessly moving from singing arias from his new album, “Aurora,” to conducting the Rachmaninov Symphony No. 2, his performance led to an outpouring of critical accolades.
Vienna, November 2002: '[Cura] proved to be a meticulous interpreter of Rachmaninov's Second Symphony. Without airs and graces, with sweeping gestures and precise entries he sketched an electrifying body of sound, in which each movement was followed by frantic applause.' Kronen Zeitung, December 2002
Vienna, November 2002: ‘The evening at the Great Hall of the Vienna Konzerthaus showed Cura's janus-faced talents. In the Italian arias of the first half of the program, Cura demonstrated his boisterous temper, powerful and metal timbre as well as secure as spectacular high notes…After the intermission, Cura proved his first class innate abilities with a breathtaking interpretation of Rachmaninov's vigorous II Symphony. …To summarise this enthusiastically received evening: a highly talented conductor who also sings opera for his own pleasure...’ Die Press, Dec 2002
Other important concerts in 2002 included four outdoor venues: Dalhalla, Sweden; Lodz, Poland; Herod Atticus, Athens, Greece; and Hyde Park, London, where Cura entertained an audience estimated at 40,000. Other notable venues included the National Concert Hall in Taipei, the Pavilhão Atlântico in Lisbon, and the Kremlin in Moscow. In 2003, José Cura began the concert year with a spectacular evening in Prague and as special guest of honor at the glittering Vienna Opern Ball. He completed a series of Verdi concerts in Busseto, Verdi's hometown, in May and ended the summer season with a unique outdoor concert in Budapest in August.
Athens, July 2002: 'As the music filled the night sky, accompanied by the light evening breeze, Cura demonstrated that his world - - for many an impenetrable universe - - is as accessible as any other form of musical expression, provided it comes straight from the soul.' Kathimerini, July 2002
Lisbon, October 2002: 'A genius in communicating with the public, many time setting the mood, José Cura showed himself as a conductor, tenor, pianist, and guitarist as required by the moment. [...] And left the crowd in a standing ovation.' Correio da Manhã, October 2002
Busseto, May 2003: 'That José Cura owns the magic formula for sending an audience into a state of rapture was proven all too clearly the other evening in the tiny Teatro Verdi of Busseto, which was literally brimming with enthusiasm…' Parma Gazette, May 2003
Munich, July 2003: 'Cura conducted with inspiration, with vigor, with knife-edge rhythmic acuity and with a talent for showmanship.' Sueddeutsche Zeitung, July 2003
Cura began the 2003/2004 performance season is fine style, showcasing both his ability to create living characters on stage as well as breathe fresh life into the symphonic repertoire. His debut at the Wiener Staatsoper as the prophet Jean in Massenet's rarely performed “Hérodiade” was a triumph: from his powerful entrance at the end of Act I through his moving duet with Salome in Act IV, Cura's sensitive reading of the role illuminated his character with passion, conviction, and insight. His vocal performance-ranging from the beautifully intimate tones used in dialogue with Salome through the soaring brilliance of the high notes employed as the messenger of God-coupled with his consummate acting skills and commanding stage presence earned Cura thunderous applause.
Hérodiade, Vienna: '[Cura] was able to score with his immaculate yet radiantly sparkling upper register.' Kurier, September 2003
Hérodiade, Vienna: 'José Cura interpreted the figure of the Baptist-prophet--as could hardly be expected otherwise--in an extremely heroic manner and with vocal perma pressure, bursting with power and pride as well as decibels.' Der Standard, September 2003.
Hérodiade, Vienna: 'Cheered, of course, José Cura, who--in his debut of this role--portrayed John as more of a spiritual prophet than a French operatic hero. Vocally, he showed complete mastery of all registers--from the baritonal touch up to the highest notes--performing each and every piece with superior ease.' Kronen Zeitung, September 2003
Cura also triumphed in his return to the podium. On 18 September he conducted Sinfonia Varsovia in Beethoven's monumental 5th Symphony as part of the VI European Festival in Jelenia Góra. Displaying an instinctive understanding of this great classical work, Cura led his orchestra through an original, electrifying and highly successful presentation. Cura next traveled to Sofia to conduct the Bulgaria Philharmonic Orchestra on 28 September in an unforgettable evening of music that included Respighi's Pini di Roma, Borodin's Polovtsian Dances and Tchaikovsky's 5th Symphony. This last work, one of the pillars of the romantic repertoire, proved to be an ideal match for Cura's passionate temperament and dramatic sensibilities. Both performances earned the conductor enthusiastic applause by appreciative audiences but it was the two symphonies (the Beethoven and Tchaikovsky Nos. 5), with their vastly different approaches to the central theme of fate, that secured the Maestro wide-spread critical acclaim for his fresh vision, exciting execution and authentic voice, adding even greater luster to Cura's burgeoning reputation as a conductor of note.
In October, he returned to Prague for a standing-room-only concert featuring an inspired selection of Puccini arias coupled with the 9th Symphony from the Czech Republic's most famous composer, Antonín Dvorák. Cura's final public concert of the year was in Budapest, during which the maestro led the Matáv Hungarian Symphony Orchestra in a searing, exhilarating rendition of the Dvorák 9th-recorded live for Cura's third release under the Cuibar label.
Prague, October 2003: 'In his second performance in Prague, Cura once more performed not only as an outstanding soloist, but also as an ever more frequent conductor. In front of an orchestra, in this case the Prague Chamber Philharmonic, as ever immaculately prepared, Cura radiates an irresistible charisma, which served only to highlight his precise and clear hand movements, accompanied by an eloquent expression. The [Puccini] arias…were truly magnificent and once more confirmed Cura's exceptional mastery and God-given talent.' Deníky Bohemia, October 2003
Prague, October 2003: 'This was an interesting, wild and fiery Dvorak…' IDNES, October 2003
Prague, October 2003: 'Cura is not just a singer accompanied by an orchestra, his interpretation is a compact, dramatic expression of action, feeling, and thought…José Cura is a strategist, supervisor, working master and sovereign lord of his evening. He works flat out, without vanity, but rather with the good humour and grace of an entertainer.' Lidové noviny, Oct 2003
In November, Cura returned to the Verdi repertoire to reprise his role of Don Carlo and Alfredo in “La Traviata,” both in Zurich.
Don Carlo, Zurich: 'With a stage presence and commitment that are staggering, José Cura is marvelous as he plays this character, this Don Carlo, who is eaten alive by doubt, who is weakened by the spasms that torment him and who is often huddled on the ground, notably when Eboli or his father hurl their worst denunciation at him. Vocally, the Argentinean tenor displays brilliant form, from start to finish of the performance with notably clear, luminous high notes….' Concertonet, November 2003
In bravura performances on both sides of the Atlantic, José Cura proved once more to be the indisputable Samson of his generation. In December and January (2004) he made his much anticipated and highly successful return to the US, starring in the Lyric Opera of Chicago's production of “Samson et Dalila;” in March he reprised the role at Covent Garden. Cura's portrayal of God's warrior, defeated by human weakness but redeemed through suffering and supplication, was vocally thrilling, emotionally wrenching, totally unforgettable.
Samson et Dalila, Chicago: 'Cura, the tall, dark, handsome Argentine tenor has been on everybody's list of the longed-for "Fourth Tenor" since emerging on stage in the early 1990s. Mercifully, the sillier aspects of that near-desperate early hype have died down a little, allowing Cura's phenomenally rich, flexible tenor voice and stage presence time and space to blossom naturally…. With Cura exploiting his tenor's darker weight, Samson emerged as both a thoughtful servant of God and a headstrong warrior. A sexy-looking hunk in his short tunic, he was a magnetic figure in the opening scene, a natural leader whose stirring call to arms galvanized the dispirited Jews. Eschewing cartoonish strutting and gestures for more understated intensity, Cura's Samson was a believable young hero from his first entrance.' Chicago Tribune, Dec 2003
Samson et Dalila, Chicago: 'Cura was a powerful, subtle, ultimately profoundly moving leader of the Israelites. He has the volume, the dark good looks, the sense of stagecraft and the massive physique of a body-builder…. In the first scene of the final act, pushing a millstone, he made Samson's anguish heartbreaking and he lifted himself in the temple scene to the final note that brings down the house - literally. A noble, courageous portrayal.' News Chronicle, Dec 2003
Samson et Dalila, Chicago: '…the Argentine tenor mustered the heroic timbre and dramatic declamation needed to get him through this demanding French tenor role. He aptly conveyed Samson's Tannhauser-like struggle between faith and the flesh. His most intense and poignant singing came in "Vois ma misere," when the blinded, shackled captive despairingly cried out to God.' Chicago Tribune, Dec 2003
Samson et Dalila, Chicago: 'Cura returns [to Chicago] an international star in what has become a signature role for him, and with good reason. He unleashed torrents of ringing heroic tone within a dramatic conception that remained convincing. His voice seemed to gain power through the evening, yet he maintained the necessary control for some delicate pianissimos in the opening of Act III….this is an exciting performer who here provided a wealth of visceral thrill.' Opera News, March 2004
Samson et Dalila, London: 'Argentinian José Cura, arguably the most gifted spinto tenor of his generation…is sturdy and handsome as the Israelite champion.' The Stage, March 2004
Samson et Dalila, London: 'His Samson is at once a sensualist and a fanatic, a man in whom desire and spiritual conviction burn with equal, violent intensity….he responds to Graves's seductions with honeyed whispers and captures Samson's mental and physical agony with frightening vividness in the closing scenes.' The Guardian, March 2004
Samson et Dalila, London: 'The Argentinian José Cura...now ranks as one of the world's top Samsons. Large and muscular, he looks ready to topple any old temple and moves with the sass of one who knows as much…his remorseful Act III aria, when shorn and eyeless in Gaza he turns the mill, had real force.' Evening Standard, March 2004
Samson et Dalila, London: 'José Cura is a very strong Samson: his dark tenor is in good shape with a ringing power, and he is an actor of fearless physicality.' Times, March 2004
Samson et Dalila, London: 'In this incarnation, Cura is wholly convincing, even moving during the treadmill scene, edging me reluctantly towards a rare use of that dodgy critical word 'definitive'. The Observer, March 2004
Samson et Dalila, London: '…since I last saw him in the role he has developed an amazing capacity to sing quietly, so that his assurances to Dalila after she had opened her heart to his voice that 'Je t'aime' were positively murmured. Mostly, though, he was singing at full throttle, and sounding superb.' The Spectator, March 2004
Samson et Dalila, London: 'Act 3 opens with Samson alone, chained to the mill wheel. Here Cura was on tremendous form...his strong performance was a striking contribution to the evening. He gave a wonderful variety of tone colour, as he had done throughout the opera, and he made a profoundly moving figure.... Cura's final contribution, bringing with it the collapse of the Philistine temple, brought the evening to a triumphant close.' Music and Vision, March 2004
Cura is known for his unconventional, at times controversial, approach to creating memorable operatic characters. In Vienna, he introduced an intensely personal Andrea Chénier and in a finely nuanced performance offered fresh insights into the complex make-up of this sensitive, introspective poet. In Zurich, Cura triumphed as Dick Johnson in Puccini's “La fanciulla del west.” With a disarming smile and six-shooter, Cura established the character's nobility and sense of honor while effectively conveying the bandit's desperate longing for redemption and love. The great success enjoyed in Zurich positions Cura as one of the foremost proponents of the role.
La fanciulla del west, Zurich: 'The singer displays unquestionable charisma as the repentant outlaw, and his voice enchants in its valor, the luminosity of its timbre and the ease with which it reaches the highest notes.' Concertonet, May 2004
In April, Cura conducted Madam Butterfly in Warsaw, bringing his finely honed musical sensitivities and dramatic sensibilities to this delicate story of tragic love.
José Cura has been a strong advocate for making classical music accessible to the masses, as demonstrated in his participation in two spectacular events in early 2004. In February, Maestro Cura took up the baton to conduct Verdi's “Un ballo in maschera” in Piacenza, Italy, in a unique, modern production held in a vast public exhibition hall. Designed to open the performance to the widest possible audience, Cura led his cast through the intricate drama and emotional music to earn a warm reception from both first time and experienced opera-goers. In May, he traveled to Seoul for several performances of “Carmen,” an extravagant experiment in bringing opera to the people of Asia. Held in an outdoor arena seating 37,000 spectators and performed on a 120-meter long stage outfitted with a video screen the size of a football field, Cura thrilled the audience as the obsessive Don José, a role long recognized as one of his most compelling and realistically rendered.
Cura finished the 2003/2004 opera season with a splendid “Otello” in Hamburg and a rousing “Carmen” in Warsaw.
A summer of extraordinary concerts followed. Of special note was the one in Ekaterinburg, where Cura first offered an impromptu master class for students and teachers at the music conservatory, then an evening of concert pieces and operatic arias, some of which had never before been heard in the city. The public responded to the irrepressible maestro with an outpouring of affection, jamming all roads leading to the theater and rewarding Cura with a seven-minute ovation.
In Moscow, he was acclaimed 'a great actor …whose versions of operatic arias were as sinewy and spectacular as their executor himself' and in Henley, 'his personality warmed the crowd on a chilly night.' In July, Cura ran the Olympic flame to the stage of the Oinousses amphitheater and sang the Olympic Anthem and Nessun dorma. He finished the summer with outdoor concerts in Vesprem and Gyula, Hungary.
Ekaterinburg, June 2004: 'There are some less-talented artists who may sing more beautifully but none more brilliantly. … The real glory of this singer is in the original interpretation of the characters he brings to life.' Nakanune.ru, June 2004
Ekaterinburg, June 2004: 'The Ekaterinburg concert proved to be a huge success for the brilliant tenor from Argentina, José Cura. The star displayed a splendid voice, one rich with nuances and passion, effortless. The end came with the aria Nessun dorma, during which the orchestra paused for an enormous period to allow the singer to complete the infinitely long B flat, eliciting a roar of approval from the hall.' Regions RU, June 2004
Berlin, July 2004: 'An absolutely magical evening . . . With his dark timbre, Cura was altogether the tenor pop star; [by the end], the adoring crowd had already been lying at [his] feet for a long time.' Berlin Morgenpost, July 2004
Henley, July 2004: 'I have no inhibitions about the colourful Argentinian tenor José Cura. He looks like a pirate and rightly concluded this was an evening for swashbuckling… The entire audience was seduced by his raffish charms.' Daily Mail, July 2004
In September 2004, José Cura returned to Zurich for a revival of “Otello,” followed by the house premiere of “Stiffelio.” In the title role, Cura presented a powerful portrait of a man in crisis. This was Cura at his finest: Stiffelio's struggles with his wife’s infidelity and the murder committed by his father-in-law were evident in every note, every look, every movement. With a voice both heroic and defeated in turn, Cura portrayed Stiffelio as a man divided: one of God, emotionally closed to those who love him while in pursuit of perfect faith; and one of flesh, devastated by betrayal and consumed with anger. Cura, always exploring the psychological makeup of his character, offers an intelligent, insightful performance executed with finesse.
Stiffelio, Zurich: 'In José Cura's portrayal of Stiffelio, one can observe the conflict of emotions-a conflict between vindictiveness and reconciliation, worked out carefully by Verdi. Especially in the 'piani', Cura finds incredibly beautiful colors and a great vividness.' NZZ, Sept 2004
Stiffelio, Zurich: 'As Stiffelio, tenor José Cura demonstrates the full range of nuances from pastoral depth to ardent virility not only by being near-perfect in appearance, but also in voice.' Tagblatt der Stadt Zürich, Sept 2004
Stiffelio, Zurich: 'José Cura paints an immensely vivid and malleable picture of the protagonist, the pastor of a sect: (and he does so) with superb body control down to the fingertips and with differentiation in his musical character.' Der Landbote, Sept 2004
Stiffelio, Zurich: 'Stiffelio is at the center of the opera, sung superbly by José Cura. As an actor, the 38-year-old (sic) Argentine tenor has a strong stage presence in personifying the inner conflicts of his character. From his dark tenor of almost baritonal timbre, he manages to elicit surprisingly velvety colors and shadings.' Neue Luzerner Zeitung, Sept 2004
Stiffelio, Zurich: 'This role, in which he made his debut at Covent Garden and attracted attention ten years ago, does not come across as unoriginal or exaggerated in any way. Cura is rather looking to emphasize the finer points, i.e. an inner drama-an intelligent portrayal.' TagesAnzeiger, Sept 2004
Stiffelio, Zurich: 'With great, intense commitment both singing and acting, tenor José Cura offers up a Stiffelio who should be able to forgive another human being, but who instead is boiling with jealousy and ire. Cura sings with a voice capable of developing and displaying immense power.' Thurgauer Zeitung, Sept 2004
Stiffelio, Zurich: 'In this Zurich production, nobody -with one exception-found any really workable solutions to the challenges. The exception? His name is José Cura. The Argentine tenor was the only one who really breathed life into his character; the only one who was capable of creating intensity and credibility, of portraying a real human being with real conflicts.' Zürichsee Zeitung, Sept 2004
Cura returned to Lisbon at the end of October to headline a special evening of music for the Associação Portuguesa Contra a Leucemia. Combining artistic excellence and charismatic stage presence, Cura enchanted the enthusiastic audience of over four thousand with his eclectic mix of American Spirituals, operatic favorites and Argentine songs, as well as his inspired conducting of Orff, Rachmaninov, and Borodin. Switching hats for the second act, Cura became the consummate pop star, sharing the stage with some of the nation's most recognizable singers in duets of familiar Portuguese songs.
José Cura's star shone bright on 2 November when he hosted the night of ten tenors at the Royal Festival Hall. Always a champion of emerging talent, Cura did double-duty as tenor and maestro: he demonstrated why he is considered one of the finest singers in the world by delivering some of opera's most spectacular arias in his unmistakable style, then he stepped to the podium to display not only his superb conducting skills but also his innate sensitivity to the needs of his nine young soloists.
London, November 2004: ‘You wait years for a nice young tenor and then 10 come along at once. Sadly, though, they're not all as dashing and gifted as José Cura…Cura made light work of the Leoncavallo and Puccini standards. The dashing Argentinian then proved himself a stylish and sympathetic master of ceremonies, giving all nine wannabes the time and space to display their wares in the shiniest possible light.’ The Observer, November 2004
Proving himself to be a master in defining character, José Cura returned to Vienna in November and December 2004 in three startlingly different roles: he first created an explosive, dangerous Stiffelio controlled not by faith but by the extremity of emotions; his flesh and blood Canio became the terrifying reincarnation of a worn-down man pushed to desperate acts of violence; his sensitive, idealistic Andrea Chénier proved a beacon of sanity in a world gone mad through personal nobility, dignity and courage.
Stiffelio, Vienna: 'Cura acts and sings--absolutely glorious and radiant in the upper notes-- so passionately, he's almost frightening.' Kurier, November 2004
Stiffelio, Vienna: '[The audience received enthusiastically] the captivating José Cura with his precise study, his acutely drawn sketch of the clergyman torn between jealousy, desire for revenge, and faith-based forgiveness. His tenor…has become a bit harsher, but the power of his ability to give shape to the character vocally is even more intense and disciplined in its effect. And impressive evening.' Kronen Zetung, November 2004
Pagliacci, Vienna: 'Charisma, coolness and mad fits of jealousy are everything with [Cura].' Kurier, November 2004
Andrea Chénier, Vienna: '…this effervescent hormone hydrant named José Cura serenades the marvels of poetry with tenorial ardor and heart rending top notes...there were lots of floral bouquets tossed toward the stage at the end.' Wiener Zeitung, December 2004
Andrea Chénier, Vienna: 'Cura enriches this worn Otto Schenk production 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, Cura is excellent, first-class.' Kurier, December 2004
Cura ended 2004 with a series of highly acclaimed, sold-out concerts in Switzerland that brought audiences to their feet in thunderous applause and left critics enthusiastic:
Geneva, December 2004: 'There isn't a soul who can resist the impression that he has the privilege of taking part in a dialog, of being taken by the hand with warmth to be lead down the paths of all musical genres…With a gentleness that is more coaxing than disruptively overwhelming, Cura also knows how to lead, to guide the musicians with the baton. His very physical version of Dvorák's Symphony from the New World leaves no room for dillydallying. The ensemble is brought into shape with a solid hand; the brio passages are sustained with strength and power.' Tribune de Genéva, December 2004
Berne, December 2004: 'Cura is an interpreter, a performer equipped with a dramatic, fascinatingly heroic voice: his tenor sparkles, shines radiantly and irresistibly in the Forte and the Fortissimo…In the first part of the concert, Cura delighted and charmed the audience with Verdi, Ponchielli and Puccini arias, driving folks to bouts of frenetic, wildly ecstatic applause. In the second part, Cura took up the baton himself and conducted Dvorak's 9th Symphony From the New World. Remarkable was the way in which this artist-clearly a person of comprehensive musicality- both elicited and extracted colors, contrasts and expressivity from the work.' Berner Zeitung, December 2004
Cura opened calendar year 2005 with a bravura concert-version of “Il Corsaro” in Barcelona followed with and earthy and honest “Samson et Dalila” at the Metropolitan Opera in New York City.
Il Corsaro, Barcelona: ‘Cura opts for a different approach, one more direct and visceral, one taking advantage of the strength of his voice with its resounding center, its dark color, its attractiveness, its great dramatic appeal. A straightforward Corrado, thrilling without filigrees, greatly applauded by the public’. El País, February 2005
Il Corsaro, Barcelona: ‘Last Monday was the first performance of Verdi’s opera “Il corsaro”, and also the official debut of the great Argentinian tenor José Cura, who sang the role with energy and power, completing his first aria with enormous effectiveness. … [T]his tenor performs with all the requirements of a Verdian opera of the “primitive” type, such as “Corsaro”: energy, emotional intensity and security.’ La Vanguardia, February 2005
Samson et Dalila, New York City: ‘[T]he Samson of the tenor José Cura…is the big news of the revival…Clearly a solid musician, he sang with rhythmic integrity and admirable dynamic shadings. Still, it was sheer vocal willpower and dramatic risk-taking that gave his portrayal such impact. During the love scene, he sang Samson's climactic top notes lying on his back with Ms. Graves cuddled over his chest. In the prison scene, when Samson, blinded, shorn of hair and sapped of power, turns the mill wheel to which he is chained, Mr. Cura captured the pitiable state of this broken man through his halting steps and anguished singing.’ New York Times, April 2005
Samson et Dalila, New York City: ‘With his direct manner and unruly, almost experimental technique, Cura is an exciting singer who breathes both life and thought into a character. He immersed himself in the role, putting to expressive use the arresting rough edges of his full-throated sound…When he rose at the last moment to find himself again, the resurgence of his strength was palpable.’ Opera News, May 2005
In spring 2005, Cura focused his considerable talents on portraying Canio in Berlin and Piacenza in two very different productions.
Pagliacci, Berlin: ‘[T]ruly impossible to ignore, José Cura with his voice of the century, a voice that comes along only once in a hundred years. It reminds of fanfares, the trumpet flourishes of Judgment Day…’ Berliner Morgenpost, April 2005
Pagliacci, Berlin: ‘José Cura, who in addition to possessing an exquisitely controlled and big voice also has a breathtaking stage presence, shaped his "Vesti la giubba" with an intensity that went far beyond the usual macho-kitsch-sobbing caused by betrayal and jealousy, and lent to the character of Pagliaccio unexpected depth, significance, almost something "Faust-like". F.A.Z., April 2005
Pagliacci, Berlin: ‘Cura breaks the rule ... There is something about his vocal organ that surpasses, transcends the average, run-of-the-mill power voice. The way he takes the passaggio from middle to upper register in his desperation aria is as hard and fast as Schumacher stepping on the gas pedal of his red Ferrari in a curve. …We witness this world-class tenor disdainfully making short shrift of the text of his role.’ Berlin Zeitung, April 2005
Pagliacci, Berlin: ‘[Cura] starts to work magic immediately… From shrill laughter, he plunges into tears and lamentation, pulls himself up to soar with a tearjerker of a melody, and then tops that with--how could you miss it?--a brilliant, daringly sustained ‘firecracker’ of a high note. Bravo, Don José.’ Der Tagespiegel, April 2005
Pagliacci, Berlin: ‘As the jealous clown Canio, Cura delivers his top notes with lingering relish…He is scorchingly intense in the dressing-room aria, and a smoldering presence the rest of the time.’ Bloomberg, April 2005
Pagliacci, Berlin: ‘[I]t is the international star from Argentina, José Cura, who makes “Pagliacci” the winner in the contest for the tenor crown by molding him--vocally as well as in his interpretation--poignantly and sensitively.’ Bietigheimer Zeitung, April 2005
Pagliacci, Berlin: ‘The “Pagliaccio” was Caruso’s signature role but once you hear Cura, you don’t need Caruso.’ HNA, April 2005
Pagliacci, Berlin: ‘In addition to the sensual, unmistakable color of his voice, the sheer power of his delivery, and his radiant top notes, Cura once again impressed with the absolute ease of his vocal performance.’ Das Opernglas, June 2005
Pagliacci, Berlin: [José Cura’s] performance… was characterized with remarkable expressiveness and explosives high notes.' Opéra, June 2005
Pagliacci, Piacenza: ‘Tenor José Cura asserts himself totally in “Pagliacci” and he is a complete success. Vocally dazzling…an actor of extraordinary effectiveness, the Argentinean singer got a genuine ‘standing ovation’ at the end as confirmation of his superlative performance.’ La Cronaca, May 2005
Pagliacci, Piacenza: ‘José Cura was the star here, a Canio deluxe in a vibrant, ringing, heart-felt performance; with a mellow, fully rounded voice that was agile and showed interesting accentuation, beautiful phrasing and flaring bursts in the height.’ La Discussione, May 2005
Pagliacci, Piacenza: ‘José Cura was the absolute star, above all because of the irresistible on-stage charisma which enabled him to interpret and define a character that drew attention like a magnet whenever he came on stage. But the singer was in no way second to the actor. In this repertoire, Cura has a means of showcasing the somewhat dark beauty of his timbre as well as the amplitude of his voice, articulated in throbbing and passionate phrasings that nail the listener. Where the flashes of tempered steel were made to sparkle… they sparked wild applause and frenetic calls for encores…’ Libertà, May 2005
In June, Cura returned to Verona as Radames for two performances of “Aida,” (a splendid actor, an intelligent interpreter, and a connoisseur of the audience’) in a Franco Zeffirelli production. In July, he traveled to Munich for two performances of “Otello” as part of the record-setting 2005 Münchner Opern-Festspiele.
Otello, Munich: 'As Otello, José Cura unveiled the study of a man so consumed by jealousy that he actually lapsed into a terrifying insanity. The way he dealt with Iago time and again, the way he doubled over on the ground at the end of Act III, the way he struggled to control his bouts of aggression, face buried in his hands in sheer despair, the manner in which he made his rapidly progressing mental disintegration so musically and vocally believable was magnificent, sublime.' Suddeutsche Zeitung, July 2005
Otello, Munich: ‘Cura’s voice has changed considerably. While in the past he showed off a one-colored, one-dimensional dark tenor, his heroic voice has now gained metal and precision. ...It was suitable that Cura played Otello as a cross between macho and softie, as someone torn back and forth, as a man not above collapsing is shocked disbelief after slapping the woman he adores in the face.' Munchen Merkur, July 2005
José Cura ended his 2005 opera season with a run of brilliant “Turandots” at Arena di Verona. The lush, unabashedly romantic production featured the tenor in full heroic bloom in a role that ‘lies so convincingly in the vocal cords of the great tenor.’ Cura next sings Calaf in Zurich in spring 2006.
Cura’s first concert of 2005 was a sizzling affair featuring the tenor with star soprano Anna Netrebko before an enthusiastic crowd of 8,000 at the Cologne arena.
Cologne Concert with Anna Netrebko, April 2005: “Cura threw himself into his roles; he hurled himself at the hearts of his audience…he slips into his characters totally and completely. Cura's voice explodes like a volcano. If this, his indisputably God-given gift, which he uses lavishly, were ever to give out, Cura has the ability to conduct, compose, or become an opera house director. The man possesses many talents.” Kölnische Rundschau, April 2005
Cologne Concert with Anna Netrebko, April 2005: “Netrebko and Cura were able to captivate and win over the audience and reap standing ovations….On one occasion, the charismatic Argentine even stole the show from the almost too unassuming Russian with his tenoral vocal explosiveness…” Yahoo Nachrichten, April 2005
Cologne Concert with Anna Netrebko, April 2005: “In other places, Rolando Villazón and Ramón Vargas; in Cologne, the Argentinean José Cura, a tenor whose voice oozes sensuality. With glowing baritonal colouring, fantastically secure height and personal nonchalance… [a]nd with 'fire-crackers' like the Pagliacci aria or Puccini's Nessun dorma, he threatened to upstage the Russian.” Aachener-Zeitung, April 2005
In July, Cura shone as one of the brightest stars at the opening ceremonies of the World Games in Duisburg, Germany. His participation in this international gathering of athletes was confirmation of Cura’s deep and abiding commitment to youths and to his belief in the power of the positive. Employing his rich tenor voice in both classical and contemporary music, Cura celebrated the beginning of ten days of peaceful competition between athletes of various colors, shapes, sizes, and nationalities.
‘With the classical aria "Nessum dorma" from Puccinis Turandot, the world-famous Argentine tenor won the hearts of the audience.’ Westdeutsche Allgemeine, July 2005
‘The Argentine star tenor José Cura earned the first ovation. With the Duisburger Philhamonic as sympathetic accompanist, Cura touched the hearts of the audience with his classical delivery and contemporary sound. After the triumphant entrance of athletes from nearly 100 countries, Cura returned to the stage to join Benny Martell and 14-year-old singer Jay-Ann in belting out the official World Games song.’ NRZ, July 2005
Cura started the 2005 / 2006 season in London starring as Puccini's outlaw hero Dick Johnson in the much-anticipated ROH production of “La fanciulla del west” (September). The performance, marked by Cura’s transparent artistry and ineffable style, delighted audiences and critics alike, and served as further evidence of his dominance in this role.
Fanciulla del West, London: “In José Cura [Minnie] has a Dick Johnson worth dying for. This is the best performance Cura has given in London: the selfish outlaw comes good with a voice that rings out handsomely without milking the notes, with a style of acting that never stoops to melodrama.” Financial Times, September 2005
Fanciulla del West, London: “But the "prize", of course, is Dick Johnson, alias the bandit Ramerrez - and José Cura, looking as though he'd been built specifically for this role, is the best he has ever been. His animal magnetism counts for a lot here and, since the vocal requirements are all about swarthy, full-on, heroics, he was in his element….” The Independent, September 2005
Fanciulla del West, London: “As for José Cura, the role of Dick Johnson…might have been written for him. He plays it to the hilt, his burnished, baritonal tenor shaping the vocal lines with a subtle regard for meaning and emotion. And he can’t half open up for the big moments like Ch’ella mi creda. Terrific stuff.” The Stage, September 2005
Fanciulla del West, London: “José Cura, as Johnson, gives off a strange oral musk that makes you believe he’s the sexiest thing on legs, even though good sense would normally tell you otherwise. But he can shape a phrase with the best and his voice is ideal for the barely controlled histrionics Puccini demands.” Evening Standard, September 2005
Fanciulla del West, London: “José Cura gets Dick Johnson’s macho posturings just right while singing with plenty of dark tone – one of his finest performances.” Sunday Telegraph, September 2005
Fanciulla del West, London: “José Cura was, inevitably, the star turn. He looked the part, evidently enjoying the boots, the strut and the swagger; but, more important, he has a good baritonal presence (most of the first act is set very low) and some of the best high B flats in the business.” Opera, November 2005
Fanciulla del West, London: “Those familiar with this charismatic and spirited tenor are well aware that he can add distinction even in new productions of his best roles. This fall, he …once more proved able to impress without reservation. Though the role of Dick Johnson is not long, it offers the best possible opportunity for the virile timbre of this tenor to shine not only in tenacious high altitude flights but also in elegantly measured veristic attacks in the middle voice. The presence of this singer guaranteed high quality...” Das Opernglas, November 2005
Fanciulla del West, London: “José Cura entered and the ambience changed completely, with his clarion voice that is so well place…his high notes were clean and center attack strong. Cura is also a sensitive and intelligent actor who, with a glance, can change the atmosphere of a scene from danger to security, uneasiness to affection and love; his was a great character creation...” Oper Buen Ayre, September 2005
In a special treat, Cura reprised the role of Roberto in Puccini's rarely staged first opera, “Le Villi” in Vienna (October). Paired with Leos Janacek’s “Osud,” this innovative production featured an intriguing blend of old and new that proved fertile ground for Cura’s exciting, dynamic singing and committed, first rate acting. “Le Villi” returns for a limited run in September 2006.
Le Villi, Vienna: ‘Add José Cura as a gloriously self-indulgent, golden-throated Roberto….and you are in for a great night.’ Financial Times, October 2005
Le Villi, Vienna: ‘José Cura throws himself completely into his role – his strong presence makes itself felt even if when he not always singing "in accordance to the school." In his big second act aria “Ecco la casa,” he is simply great.’ Der Neue Merker, October 2005
Le Villi, Vienna: ‘Applauded wildly by the audience, José Cura (Roberto) sang the emotion-drenched music with bloom…’ Wiener Zeitung, October 2005
Le Villi, Vienna: ‘ the impetuous and manly Roberto of José Cura 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.’ Opera Buen Ayre, October 2005
Le Villi, Vienna: ‘José Cura pinged Corelli-like high notes off the ceiling...’ Opera News, January 2006
Maestro Cura also proved his versatility on the podium throughout the year. In June, Cura returned to his roots to conduct two sacred works at the Miskolci Opera Fesztival in Hungary. The program, which opened with the somber beauty of Rossini’s “Stabat Mater,” was highlighted by the conductor’s highly personal, daring and emotional interpretation of Kodály’s “Te Deum.” In September, Cura traveled to Plymouth, England, to conduct the Ten Tors orchestra in a spectacular Gala Opera Concert. Displaying a far-ranging taste for quality music, the Maestro led his ensemble in numbers from Rossini (“William Tell Overture”), Tchaikovsky (“Eugene Onegin”), Gershwin (selections from “Porgy and Bess”), Verdi (“I vespri Siciliani” overture), and Dvorák (Hymn to the Moon from “Rusalka” and the final movement from Symphony No. 9).
Cura traveled to Italy in December for a month-long immersion in conducting, interrupted only when he raised his voice in support of charity during the annual Muscular Dystrophy Telethon. Concerts with the L'orchestra della Fondazione Arturo Toscanini in Busseto and Piacenza featured Rachmaninov’s Piano Concerto No. 2 in C minor and Symphony No. 2 in E minor and Kodaly’s “Dances of Galanta.” The performances were artistic and popular successes, with Cura’s ‘sparkling conducting and stage presence’ earning ovations. The Maestro ended the month in Mantova conducting Verdi’s “I vespri Siciliani.”
I vespri Siciliani, Mantova: ‘José Cura, this time in the role of conductor, commanded the orchestra with discreet confidence, demonstrating his understanding of the elegance of the score. He didn’t give in to the temptation to exaggerate, even during those moments of extreme “popular” flavor. Tempi were appropriate and the piani of the orchestra well calibrated. The excellent orchestra and choir of Toscanini Foundation responded well and the relationship between the pit and the stage turned out well balanced.’ Operaclick, December 2005
In January, Cura returned to the stage in the title role in “Andrea Chénier” at Teatro Comunale di Bologna. The Giordano opera provided a showcase for Cura’s insightful interpretation and expressive vocals.
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…Cura sings “Improvviso,” which is certainly not a piece of candy in its phrasing, lyricism and fervor, with ease (“drinks it like a pair of fresh eggs”) and the audience erupted in applause. In his farewell to life, “Come un bel dì di maggio,” he offers soaring high notes held with long breath but also softness and mezzo voce, dynamics this singer would not have employed a few years earlier.’ Il Giornale, January 2006
Cura travels with Teatro Comunale in June 2006 for a series of performances of “Andrea Chénier” in Japan.
In February, José Cura re-introduced the audience at Teatro Gran Liceu to Verdi’s masterpiece, “Otello,” after an eighteen-year absence. Working within a minimalist setting that emphasized the interior life of the character, Cura galvanized the audience with his moving performance of a man of war unable to adjust to the world of peace. Cura held nothing back: through body language that spoke of underlying physical frailty, emotional vocalism that moved from murmurs of romantic love to howls of murderous rage, and subtle facial expressions that showed the slow disintegration of the man, Cura simply transcended the boundaries of the production to offer a profoundly moving portrayal.
‘To speak of Otello is to speak of voice. José Cura has the vocal coloring, the power and strength but above all the dramatic temperament that this colossal Verdi character demands. In his visceral interpretation, the Argentine tenor strips the character of all nobility and puts himself into his skin and tortured psychology in such a way that he fills the stage and tirelessly maintains the dramatic tension until the anguished finale. Cura is Otello. It’s as simple as that.’ El Pais, February 2006
‘The Liceu has done nice work in presenting “Otello,” vocally the most demanding opera of the mature Verdi, with one of the best teams currently available. To start with, there is José Cura [who] proved himself an excellent actor on stage, which, in this Shakespearean drama, is much to be thankful for. His powerful voice, moments of intensity and sense for the dramatic made for a role of great vibrancy.’ La Vanguardia, February 2006
‘José Cura can be a real ham--and he is--but nowadays, there is simply no one else who knows how to make so much out of the Venetian Moor. He was stunning in an impressive ‘Esultate!’. He …was irreproachable in the duets with Iago and Desdemona as well as in his two great solo scenes. It is a pleasure to be able to listen to an Otello like that.’ La Rázon, February 2006
‘In the title role, José Cura demonstrated that he is currently one of the best interpreters of Otello on the international stage ….’ Canto Lirico, February 2006
‘In the person of José Cura, Willy Decker has a truly first-rate artist at his disposal to portray this complex being [Otello] who is under fire every which way. The tenor, at his peak in terms of voice as well as expressiveness, lives the role, and the way in which he takes over and fills the space (on stage) is exceptional. His metallic timbre with its burnished sparkle, his projection and the intensity of his accentuation are ideally suited to his character, with whom he seems to have become identified ever since he took on the role in 1997.’ Concert Classic, February 2006
‘Cura’s Otello is a performance that the Liceu audiences will remember for a long time: a profoundly felt, well considered depiction of a man’s descent into madness, paired with a true vocal tour de force. Cura’s tenor is sometimes strained and the sound is not always pretty, but his technique and the communicative powers are astounding.’ Opera News, May 2006
After reprising his Alfredo in “La Traviata” and Stiffelio in the much-neglected Verdi opera of the same name, Cura became the first tenor to bring Calaf to life in the Zurich Opera’s avant garde production of Puccini’s “Turandot”. Straddling the old and new, the east and west, the sensual and repressed, this staging relied on humor as much as tragedy to advance a unique psychological theory: an aggressive sexual encounter with an irreverent stranger will bring the most old-fashioned and repressed woman into the modern age. Representing contemporary sensibilities, Cura easily parodied the stereotype machismo Latino lover with a deft, witty approach that delighted the audience. His impeccable comic timing, most notably in the famous Act II riddle scene where his comedic instincts were inspired, sent ripples of laughter through the auditorium. Cura reprises the role in Zurich in season 2006/2007.
‘Outstanding was the Calaf of José Cura. …at this time no other tenor can so easily master this role. The bronze, baritonal voice coloring, paired with an incredible expressiveness and vocal strength and, when necessary, with softness, inspired storms of enthusiasm. The nonchalance in his acting and the ease with which he took the high notes made him the winner of the evening.’ Vox spectatricis, April 2006
‘José Cura as Calaf dominates the stage….Although his darkly shaded tenor occasionally lives in a wild marriage with the song phrase, he is convincing as an actor and in his thrilling, daredevil approach. He has class.’ Zürichsee Zeitung, April 2006
‘A frequent visitor to the Zurich stage, José Cura made a strong impression as Calaf. In fine form, the Argentinian tenor sang with dark and vigorous tones and [easily] launched the high notes, even singing Nessun dorma lying on his back! He showed scrupulous attention to style and score--and he had no problem playing the macho lover required by the staging!’ Concertonet, April 2006
‘His imposing presence made us think the opera should have been called Calaf, but much of his macho self-approval can be easily pardoned thanks to the charisma that characterizes this artist and the almost overwhelming brightness of his vocal projection.’ Ópera Actual, May 2006
From Zurich, Cura traveled to Vienna to star as Roberto in Puccini’s first opera, “Le Villi,” and conduct the Vienna Opera orchestra in a spellbinding “Madame Butterfly.”
‘Something else of great importance: José Cura and the orchestra. The conductor offered up a first-rate reading of the composition and proved that the expression of sensitive, tender emotions does not need either sentimentality or sugary sweetness. The members of the orchestra were totally committed, accepted him without reservation and followed him willingly. Cura drew clear distinctions in the orchestral rendition, in that strong dramatic outbursts were followed by the most delicate and soft lyricism in the blink of an eye. To the singers he was an optimal guide and accompanist. After his singing career, the doors of a conducting career are going to be wide open for him; that much was proven.’ Der Neue Merker, May 2006
In June, Cura rewarded patient fans and won new admirer when he returned to Japan to reprise the lead role in Andrea Chénier with Teatro Communale di Bologna. His stellar performance was greeted with glowing reviews and enthusiastic applause led by the Japanese Prime Minister, Junichiro Koizumi, a noted opera lover.
Andrea Chénier, Tokyo: ‘The performance of José Cura as Andrea Chénier added new aspects to the opera. Maddalena could not help loving the masculine and revolutionary poet with a tender heart…’ Ongaku no tomo, June 2006
Andrea Chénier, Tokyo: ‘Cura’s charm fully blooms…’ Mostry Classic, June 2006
Cura’s summer took an unexpected turn when he arrived in Verona for the first of several performances as Canio in Pagliacci: the tenor scheduled for the role of Turiddu in the double-header Cavalleria Rusticana was forced to withdraw at the last minute, leaving the Arena di Verona without a world-class tenor to sing the role of the impulsive Sicilian. Cura never hesitated. Stepping onto the ancient Roman stones in brutal summer heat, still suffering the effects from jet-lag and trying to recall the role he had not sung in over six years, the man of principle repaid a debt of honor to the theater that first opened its arms to him in 1992. It was not an offer made lightly—Cura became only the third tenor in 84 years of Arena history to undertake this daunting challenge. Beginning with the daring, impetuous youth who dashed up and down the broad stone steps of the amphitheater and ending with the jealous, violent clown, Cura battled the blistering elements to offer two intensely moving and original interpretations of these cornerstone verismo operas. By the end of opening night the words from Corriere della Sera rang true to all who witnessed his brave act of artistic generosity: ‘The savior of the country is José Cura.’
Cavalleria Rusticana and I Pagliacci, Arena di Verona: ‘[T]he matador is naturally José Cura, whether as Turiddu or Pagliaccio. His line of singing is reliable, musical…always used with brilliance, according to an interpretation of suffered emotional participation and immediate dramatic evidence.’ L’Arena, June 2006
Cavalleria Rusticana and I Pagliacci, Arena di Verona: ‘There were just two predecessors in 84 years who [performed both roles in a single evening] but nobody has carried on his shoulders the performances of this verismo pair the way Cura, the Argentine gladiator, did.’ Corriere della Sera, June 2006
Cavalleria Rusticana and I Pagliacci, Arena di Verona: ‘José Cura was convincing, vocally well disposed, and in his best game mode’. Der Standard, June 2006
Cavalleria Rusticana and I Pagliacci, Arena di Verona: ‘The performance was dominated by José Cura. Cura has what one can call an 'arena-voice': sizable, clearly distinguishable; he has sung many times on this extra-large stage and knows how to do it most convincingly.... Opera Critic, June 2006
Cavalleria Rusticana and I Pagliacci, Arena di Verona: ‘Without question, the hero of the evening was José Cura, starring in the double role of Turiddu and Canio. A treatise could be written on the Argentine tenor’s unorthodox vocal technique but on this evening, his voice shone with power and was notable for long-held high notes. And if we add two intense and first rate interpretations, especially as Canio, his stage presence and wise portrayal, all that is left for us to say is ‘Bravo Cura!’’ OperaClick, June 2006
In mid-July, Cura traveled to Rijeka, Croatia, for a summer night of remarkable music making. Taking the outdoor stage at Trsat, Cura cast a spell over the audience with his display of vocal fireworks, incisive conducting and sterling stagecraft, all supported by bubbling good humour and infectious joie de vivre.
Concert, Rijeka, Croatia: ‘It is now clear how José Cura wins the hearts of audiences around the world. His charisma? Certainly. His wonderful and strong voice? Even more so. But above all, it is his complete absorption in the music that makes the characters he sings come alive. …I have never had such a deep operatic experience as I did during this concert performance. It is impossible to find on our opera stages such dramatic feeling, in both singing and acting, as the famous Argentinean was able to achieve on the 1.5 square meter of the Trsat stage.’ Jutarnji List July 2006
Concert, Rijeka, Croatia: ‘Cura showed that he is as dangerous as a panther for his partner, because he sings impulsively, almost unpredictably, and acts gloriously, and it doesn’t matter if it is a concert performance, for he fully controls and dominates on stage.’ Vecernji list July 2006
Cura has planned an exciting 2006/7 season, beginning with a return engagement in Vienna with Le Villi followed by La fanciulla del west in Berlin (September), Turandot in Turin (October), Tosca in New York (November), and Don Carlo in both Zurich (November and December) and Vienna (December). After a brief holiday break, Cura returns to the stage in Pagliacci in Berlin (January), Le Villi in Genoa (March), and Stiffelio in London (April and May). Between operas, Cura will be performing in concert in Ireland, Portugal, and Germany, among other locations.
Looking ahead to season 2007/8, Cura has already announced plans to open the season at the Gran Teatro Liceo in Andrea Chénier, followed by Cavalleria Rusticana and Pagliacci in Germany, Norma and Tosca in Vienna, and Turandot in Zurich.
José Cura's passion for music doesn't stop with performance. In 2001 he created Cuibar Productions to develop, produce, and market the best classical entertainment. Initial success for the company came with the release of two important new CDs, the recital disk 'Aurora' and a highly-regarded Rachmaninov 2nd Symphony ('an expertly shaped, urgently vital performance, as true to the spirit of the music as to the letter of the score.' ClassicsToday), both under the Cuibar Phono Video (CPV) label. A third CD, a creative marriage between song cycle and symphony composed by the great Czech composer Antonín Dvorák, introduced listeners to the CPV Centenary Tribute series, recordings by José Cura dedicated to composers upon the 100th anniversary of their death. Cuibar has announced plans to distribute CPV material through an Internet store, featuring online selection and ordering.
Cuibar Productions has also expanded to include artist management under the CuibArt title. With an emphasis on finding, developing and promoting young talent, this branch will focus on supporting and encouraging the next generation of singers and musicians. In addition, CuibArt is staffed to design, develop, and produce a full range of musical spectacles, from opera galas to fully-staged operas, vocal or symphonic concerts, solo recitals, chamber, jazz or pop events.
More information about Cuibar services can be found on the Cuibar website.
In exciting news, the multi-talented José Cura has announced the imminent release of his first book of photographs, to be published in a ‘coffee table’ format by a Swiss publisher.
An international star, José Cura has received many awards and prizes for artistic excellence. In 1994, he was awarded first place at the International Singers Competition (Operalia) as well as the Prize of the Public; in 1997 he was awarded the Abbiati Award (Italian critics' prize) for his performances in two Mascagni operas - “Iris” in Rome and “Cavalleria Rusticana” with the Ravenna Festival- and in “Il Corsaro” in Turin. A year later, he earned the Orphée d'Or from Académie du Disque Lyrique. In 1999, the Buenos Aires' CAECE University awarded him the distinction of “Professor Honoris Causae” and the city of Rosario the one of “Citizen of Honour.” He received the ECHO award for Sänger des Jahres from the Deutscher Schallplattenpreis in 2000.
In 2000, Cura was knighted “Chevalier de l'Ordre du Cedre” by the Lebanese Government.
Cura was honored as the Best Artist of the Year from Grup de Liceistes in Barcelona in 2001, received the Ewa Czeszejko - Sochacka Foundation Award (Poland) in 2002, and the Sirmione Catullus Prize honoring him as one of the great singers of opera in 2003. In recognition of his artistry and in acknowledgement of the great affection and high esteem in which he is held in the country, José Cura was awarded “Citizen of Honour” by the City of Vesprem, Hungary, in August, 2004.
Year 2005 proved a banner year for José Cura. In November, The British Youth Opera (BYO) announced that he had accepted the position of honorary Vice President of the company. This appointment, made in recognition of Cura’s dedication to teaching, mentoring, and supporting young talent, adds his name to a distinguished list of benefactors including such luminaries as Dame Janet Baker, Dame Felicity Lott, and Bryn Terfel. Cura also became Patron of New Devon Opera. The company, established to promote and tour opera within Devon and the South West of England, is a non-profit organization that promotes charitable and educational productions and concerts.
In December 2005, Cura became the second recipient of the City of Piacenza-Giuseppi Verdi award in recognition of his contribution to classical music as both singer and conductor. The award, individually designed to honor the winner, is given annually to an artist of international significance who has inspired critical approval and audience affection. That Cura receives the recognition so soon after its establishment is tribute to his reputation as one of the greatest tenors of the age, his artistry on the podium, his warm relationship with fans, his personal support of young musicians and his on-going involvement in charitable organizations.
Recognition for Cura’s outstanding contributions to the world of music continued in 2006. La Asociación de Amigos de la Ópera (Spain) presented their golden award to Cura in February for his brilliant career on the opera stage and in acknowledgement of his position as one of the world’s great vocalists; the award also paid tribute to his work as conductor and composer. In May, Cura, one of the most famous artists from Latin America, was honored in Vienna by Onda Latina for his exceptional career and his championship of young artists. In July, the Fondazione Verona per l’Arena awarded Cura the 22nd International Zenatello Prize for singing. The award, named for the great Veronese artist, is given to the musician who performed at the Arena in previous seasons to great acclaim from both public and critics, as Cura has done since 2003 in roles as diverse as Don José, Calaf, Alfredo, Radames, and now Canio and Turiddu.
José Cura has released a number of critical praised full-length opera, recital and symphonic CDs. Many of his performances are also available on video and DVD.
Iris: 'This recording convincingly demonstrates that Cura is a singer of exceptional quality and even greater promise.' Gramophone Magazine, March 1998
Puccini Arias: 'Here is lavish confirmation that Cura is the answer to our prayers: a true spinto tenor leaning towards robusto that we have needed for so long. [...] The sound has both baritonal warmth and true tenor top with the appropriate heroic ring, really thrilling.' Opera Magazine, December 1997
Anhelo: 'This hypnotic recording is one of the finest vocal recitals of recent years…' American Record Guide, Sep-Oct 1999
Samson et Dalila: 'José Cura is quite magnificent, justifying the belief of all those who see him as the white hope of the tenor scene.' Classic CD, February 1999
Manon Lescaut: 'Few have seemed so ideally suited to the impulsive, obsessed Des Grieux as is José Cura, with his ardent, exciting singing.' The Daily Telegraph, Apr 2000
Verismo: 'This important CD confirms José Cura as an operatic adventurer eager to explore the fingers of the repertory. It also presents ample evidence that he commands the technical resources and interpretive imagination to leave a vivid imprint on some of the most testing music written for the tenor voice.' Opera Quarterly, Summer 2000
La Traviata a Paris: 'José Cura ...reeks of star quality and has, in addition to a good-sized, appealing voice that he can use at varying dynamic levels, a really nice take on the music. He caresses the vocal line in his Act I duet with Violetta, he's all impetuousness in Act 2, scene 1...his anger and hurt are palpable in the second scene, and his final act is poignant.' Classics Today
Verdi Arias: 'Thank God for José Cura.' Irish Times, Sept 2000
Pagliacci: '...his basic timbre (bright and ringy at the top, startlingly baritonal below middle C) suits the role well. Cura's tone is attractive and liquid in congenial tessitura; he sings the big aria and "No, Pagliaccio non son" freely, keeping the traditional performance mannerisms within the bounds of taste.' Opera News, January 2001
Boleros: 'Cura's relaxed, laid-back approach to Latin love songs is perfect for late-night listening.' Gramophone July 2002
Cura's latest video releases include “Passion for Verdi,” performed with the London Symphony Orchestra, and “Il Trovatore,” a BBC live recording from Covent Garden. His 2002 CDs - Rachmaninov's Symphony No. 2 and “Aurora,” a collection of opera arias both sung and conducted by the tenor - were the initial releases offered by Cura's own CD label, CPV.
Rachmaninov: 'A performance you imagined but never dreamed you would experience...fast and powerful...impressive...vivacious. Great Rachmaninov playing.' Classical Music Web
Aurora: 'As a heroic tenor he is now unrivalled, his performance is musical and intelligent.' Fono Forum, June 2003
CPV has announced plans to celebrate the life work of important composers by releasing tribute albums on the anniversary of their deaths. The first release, “Antonín Dvorák Centenary Tribute,” features tenor José Cura bringing his formidable interpretative powers to the Czech composer's Love songs cycle and Maestro Cura focusing his musical insight on the famous 9º symphony, “From the New World” (recorded live in concert in Hungary). The record is currently available in a limited release.
Updated September 2006
José Cura Press acclaim:
Evening Standard
June 1995
Herald Sun
February 1996
La Nazione
May 1997
San Francisco Chronicle
August 2000
The Guardian
March 2001
The Times
April 2001
Correio da Manhã
October 2002
La Gazzetta di Parma
May 2003
Tribune de Genève
December 2004
Berliner Morgenpost
April 2005
Il Giornale
January 2006
El Pais
February 2006
‘... Are we being introduced to the next super-tenor?’‘The Argentinean José Cura represents the great hope of modern opera.’
‘José Cura, a new Otello was born.’
‘Cura proves again that there is no more exciting young tenor on the scene today.’
‘Cura wins hands down on musical talent alone...’
‘José Cura is a phenomenally gifted artist.’
‘A genius in communicating with the public…’
‘José Cura owns the magic formula for sending an audience into a state of rapture…’
‘This tenor possesses the courage of conquerors.’
‘Truly impossible to ignore, José Cura with his voice of the century…’
‘José Cura is back in his most dazzling vocal form ever and mature expressivity…’
‘Cura is Otello’
José Cura Key Prizes & Awards
1994 - First Prize, International Singers Competition Operalia
1997 - Abbiati Award – Italian Critics Prize
1998 - Orphée d’Or – Académie du Disque Lyrique, France
1999 - Professor Honoris Causae, C.A.E.C.E University, Argentina
Citizen of Honour, City of Rosario, Argentina
ECHO – Deutscher Schallplattenpreis: Sänger des Jahres, Germany
2001 - Best Artist of the Year, Grup de Liceistes – Barcelona
2002 - The Ewa Czeszejko – Sochacka Foundation Award, Poland
2003 - Artist of the Year – Catullus Prize, Italy
2004 - Citiyen of Honour, City of Vesprem, Hungary
2005 - Premio ‘Cittá di Piacenza’, Italy
2006 - Premio ‘Enric Granados’ and ‘Insignia d’or dels Amics de l’Ópera de Lerida’, España
Premio ‘Giovanni Zanatello’, Verona per l’Arena Foundation, Italy
In 2000, Maestro José Cura was knighted “Chevalier de l’Ordre du Cedre” by the Lebanese Government.
José Cura Quick portrait
"World-famous for his intense and original interpretations of opera characters, notably Verdi’s Otello and Saint-Saëns’ Samson, as well as for his unconventional and innovative concert performances, José Cura was the first artist to sing and conduct simultaneously (both in concert and on recordings) and the first to combine singing with symphonic works in a ‘half and half’ concert format. Cura made operatic history when he first conducted Cavalleria Rusticana and then stepped on stage after intermission to sing Canio in Pagliacci at the Hamburg Opera in February 2003. A compelling actor and charismatic stage performer, Cura has been featured in numerous telecasts of opera and concert productions from venues around the world."
José Cura Career milestones
1993 - Signorina Julia by Bibalo, Teatro Verdi, Trieste, Italy; first starring role
1994 - Le Villi by Puccini, Festival della Valle d’Itria, Italy; first recorded performance
1995 - Stiffelio by Verdi, R.O.H. Covent Garden, London, UK; house debut
Nabucco by Verdi, L'Opera National de Paris (Bastille), Paris, France; house debut
1996 - Samson et Dalila, R.O.H. Covent Garden, London, UK, role debut
Cavalleria Rusticana by Mascagni, Ravenna, Italy; radio and TV broadcast
Tosca by Puccini, Vienna State Opera, Vienna, Austria; house debut
1997 - La Gioconda by Ponchielli, Teatro alla Scala, Milan, Italy; house and role debut
Otello by Verdi, Teatro Regio, Turin, Italy; role debut, radio and TV broadcast live
1998 - Aida by Verdi, New Imperial Theatre, Tokyo, Japan; role and house debut. Inaugural season of the new theatre and first time an opera production was fully built in Japan
1998 - Manon Lescaut by Puccini, Teatro alla Scala, Milan, Italy; released in Audio CD and DVD video
Samson et Dalila, Washington Opera, USA, house debut
1999 - Cavalleria Rusticana by Mascagni, Metropolitan Opera, New York, USA; the second tenor in Met’s history to make his debut on the season’s Opening Night (the other one having been Caruso in 1902)
2000 - La Traviata à Paris, filmed on location in Paris, France, and broadcast live to an audience of millions around the world
2001 - A Passion for Verdi, L.S.O., Barbican Centre, London, UK; available in DVD
Appointed Principal Guest Conductor of the Polish orchestra Sinfonia Varsovia
2002 - Created Cuibar Phono Video (CPV), the recording label of Cuibar Productions, Cura’s own company. The same year, CPV releases Rachmaninov’s 2º Symphony with “Sinfonia Varsovia”; Cura’s first symphonic Studio recording is considered by many to be among the best recordings ever of this work
2003 - Cura conducts Cavalleria rusticana and after intermission sings in Leoncavallo’s Pagliacci as Canio, Hamburg Opera, Germany
Rugby World Cup Opening Ceremony, Sydney, Australia
2004 - FIFA Centennial World Player Gala, Zurich Opera House
2005 - Pagliacci by Leoncavallo, Deutsche Oper, Berlin, house debut
Opening Ceremony of World Games 2005, Duisburg, Germany
Fanciulla del West by Puccini, Royal Opera House, London, UK
Italian debut as symphonic conductor, Rachmaninov Piano Concerto n. 2 and Symphony n. 2, Piacenza, Italy
2006 - Andrea Chenier, Teatro Comunale di Bologna, Italy, DVD video recorded
Otello by Verdi, Gran Teatre del Liceu, Barcelona, Spain, DVD video recorded
Conducting debut at the Wiener Staatsoper, Madama Butterfly by Puccini
