Following the former traditions the miracle happens year by year on the last Saturday of the carnival season: the stage and the auditorium of the Opera House transforms to the most beautiful ballroom of Hungary. The ball is opened by more than a hundred debutante dancers after a short opera programme, then comes the 'Alles Walzer' so that people dance till dawn. 

 

José Cura at the Budapest Opera Ball

Blikk2

2010-02-12 

Budapest – The Hungarian capital’s ball is inviting – at least according to the famous Argentinean tenor José Cura (48), who will star at tomorrow night’s 15^th Opera Ball.  "I am very attached to this country so there was no doubt I would come,” Cura said during a press conference yesterday. 

The popular tenor arrived Wednesday evening and remains with us until Sunday and even though the ball has many activities, Cura doesn’t mind using some of the time to rest. “It is very cold, but because I have so many commitments this month, it is not a problem. I will stay mainly in the hotel and just try to go to the Opera House.

“I came alone since the kids are in school.  Of course, I did not neglect the family:  we spent New Year’s Eve together in the United States,” said the guest of honor.  “It is a complicated world we live in, with some parents wanting their kids to continue in their career, but I tell them they need to do whatever will make them really happy in life.  My older son, who is 21, lives in London and studies acting, so he is sure to follow onto the stage.”

What does he think of television shows on which such singers as Susan Boyle and Paul Potts have appeared?  “I hope the audience is not confused and believe that these are real opera singers.  They may be very talented but when they do not have the preliminary education, they remain in the limelight for only two or three years.  They cannot stand the test of time.  A real artist needs twenty years.

“When I was 20 years old, I thought I was already a great artist. I am only now realizing that though I had talent I understood only a tenth of what I needed to know,” explained Cura, who said he was excited about tomorrow night.  “I returned home from American with an extra four pounds, so I cannot include the frakkomba. Maybe after three or four days of desperate dieting…” He laughed merrily.

 

Jose Cura star guest at 15th Opera Ball in Budapest

Budapest, February 14 (MTI) - Budapest's Opera House hosted the 15th Opera Ball late on Saturday. Among the many foreign guests was the Argentine tenor José Cura.

Cura, who was the star guest at the event, performed the songs Soneto IV and Somos Novios for ball-goers.

"The task of the artist is to give people love and a positive feeling for life," Cura said. "Artists are court fools or clowns in the positive sense of the word," he added. "We are beauty's terrorists."

 

 

José Cura Singing for Survival, Love

Superstar tenor José Cura will give a recital at Goyang Aram Nuri Arts Complex, Gyeonggi Province on May 4. The first artist to simultaneously sing and conduct, he will also take the baton during the performance.   / Courtesy of Goyang Cultural Foundation

Lee Hyo-won

The Korean Times

25 April 2010

Tales of artists starving for their beloved art are aplenty. Singing, for José Cura was a matter of survival first, however, and the affection came later. But initiatives seem to be of little consequence for the superstar tenor's palpable passion for music has put him on the world map.

``In Argentina in the 1980s, to start singing was a question of survival. Almost all orchestras and choirs were put on hold, and to conduct was an almost impossible task,'' Cura told The Korea Times in a recent email interview ahead of his concert here next month.

Born in Rosario, Argentina in 1962, Cura was originally trained as an orchestral conductor, and only started singing in his late 20s. ``When I discovered I could also sing, I started doing it just as a way of paying my family's maintenance. Eventually, singing become my career and I love it.''

The 47-year-old is reputed for his intensely original interpretation of operatic roles, which earned him the nickname as ``the fourth tenor'' after the Big Three (the late Luciano Pavarotti, Placido Domingo and Jose Carreras).

But he comes first as a pioneer in his own right, as the first artist to sing and conduct simultaneously, both live and on recordings. In 2003, he rewrote operatic history when he conducted ``Cavalleria Rusticana'' and then stepped onto the stage after intermission to sing.

When asked about how he balances the two activities, as well as composing and teaching, Cura simply said, ``No secrets: great preparation and hard work.'' His know-how for maintaining a great voice was also succinct and to the point ― ``To have a normal life, in all senses: eat healthy, exercise, sleep properly,'' said the former body builder and kung fu black belt.

In his upcoming recital on May 4 at Goyang Aram Nuri Arts Complex, Gyeonggi Province, the prolific artist will offer fans an array of arias, including from operas by Verdi and Puccini such as ``Otello'' and ``Tosca.''

Soprano Kim In-hye will accompany him in duets, while Marlo de Rose will conduct the Korea Symphony Orchestra. But de Rose will step down from the podium when Cura conducts the overture from Verdi's ``Vespri Siciliani'' and ``La Tragenda'' from ``Le Villi,'' an early piece by Puccini.

When asked if a particular opera role has a special place in his heart, he said no. ``All the characters I currently interpret have a special place in my heart. I would not perform them if not, as the public notices when you are not at ease in a role.'' Fans can thus indulge in the show and see him transform from the grieving Otello to the love-struck Pinkerton.

The singer expressed enthusiasm about sharing his music with the Korean audience. ``Contrary to what we think in the West, Asian people are extremely passionate and demonstrative. But also, the demonstration of love is always done with a great deal of respect.''

Meanwhile, in addition to performing, Cura is dedicated to fostering young talent through teaching in London and leading the British Youth Opera Organization as its vice-president.

He said he reminds students, as Oscar Wilde said, ``Be yourself; everybody else is already taken.''

Moreover, he explained that classical music is for everyone. ``This music does not belong to an elitist group, that is not the `soundtrack' of an esoteric black mass performed only for a little intelligentsia, but great art,'' he said, just as timeless works of art are created by the people for the people.

José Cura (tenor)

Opera Plus

16 April 2010

You are tenor, conductor, composer, stage director but also designer and photographer. Which of them is the most difficult one and why?

All of them are extremely difficult and greatly complementary. I am very lucky to be able to enrich my life and performing career by doing all these artistic activities. Einstein said: if you want different results, don’t do always the same things…

You have been among the world's prominent tenors for a long time. Is it very difficult? How do you do it?

Work, work, work, study, study, study. Never give it for granted, never cease to investigate.
Be aware that the farther you get the less you know, and so start studying again and working even more.

Your repertoire includes a lot of very difficult roles like Otello, Radames, Samson, Cavaradossi, Calaf, Dick Johnson, Don José and Andrea Chénier to name a few. In your opinion, which one is the most difficult and why?

All of them…

It seems that you receive or reject offers with careful consideration. What are your decisive criteria?

First of all I have to be able to give a good vocal performance. Opera is about singing, after all. But because opera is NOT ONLY about singing, I have to be sure I can create a good character; otherwise, I feel stupid on stage and that is a heavy limit for me.

A lot of your colleagues complain that singers are nowadays rather second-rate because of stage directors. What is your opinion? Do you prefer traditional or modern productions?

Nobody is second rate due to somebody else’s fault. If you are mediocre it is your responsibility. Don’t look around for excuses. I like good, intelligent productions independently of being traditional or modern. I have only one condition: if you are going to direct me or conduct me, you have to be honest and prepared. I cannot stand lack of professionalism and preparation.

Are you preparing new roles now?

I have just done my debut in Bohème. To sing such a lyric role after so many years of dramatic repertoire, is a good confirmation for my career.

You have already sung in the Czech Republic and that is why you have so many fans here. Please, be frank and tell us: Do you sometimes mind that huge interest in your personality?

Don’t worry, I am always frank. When you attract the interest of people, you have to understand that you will awake both admiration and rejection. If your question is if I “mind”, of course yes. It is a big and heavy responsibility. Not only artistic, but mainly human. You can turn to be and example or a shame. Of course, as always, it is a point of view.

Thanks!

 

 Under the name of José Cura and for the good cause of Thorax, a remarkable opera night with Katerina Roussou at the Megaron

Celebrity Invitational, led by the President of the Republic and Mrs. May Papoulia, at the Opera Gala on Saturday 17/4/2010 with the Argentinean tenor José Cura in selected repertory of most favourite arias and, by his side the young opera singer, the internationally rising mezzo soprano Katerina Roussou, who sang along “with the giant”, but also offered two solos, two difficult Mozart arias, with her caress-like voice and interpretive sensitivity..

 It is hoped that this fund raising concert would be supported not just by the wealthy but also by the friends of opera, who were rewarded with an excellent performance by José Cura, who not only sang with his rich metallic voice that packs arenas and stadia, but also captured his audience with his human, cozy attitude on stage. He started his program with the famous Leoncavallo’s Pagliacci aria, making his entrance by the left corridor of the hall, singing. As soon as he got on stage, the whole place livened up, following the pace of the artistic creation of a great voice. [….] With a white shirt, with few well-considered gestures, but in constant motion, Cura was singing, conducting at the same time and indicating the soloists of the orchestra, for each musical piece, asking them at the end to stand up to share the applause with him. A great voice and a big heart, José addressed the audience, speaking of the big cause and its importance.  “I have come with great joy to contribute in the success of the cause of Professor Roussos, but also to sing along with a young singer, who, though still a student in Ljubljana, is already singing on international stages with remarkable success. You will listen to us singing together…”   

[Cura] thanked the audience that filled the Megaron Hall for this important medical cause and turning to Balcony 8 to address Professor Roussos, who was sitting next to the Presidential couple and the Athens Mayor Mr. Nikitas Kaklamanis, asked: “Professor, how much more do we need?” “Millions,” answered Mr. Roussos. “We will sing again”, Cura said, “till we make it!” We need to note here that Jose Cura received only a token fee and he offered the rights of his production company from his CDs and the money that comes from their sales to be used for the causes of Thorax! This is why the world famous tenor Jose Cura came to Athens as a host, a presenter and a friend, paving also the way for Katerina Roussou…] 

 

José Cura - Multitalented And Outstanding Otello Interpreter

 Berliner Morgenpost

Felix Schnieder-Henninger

Thursday, April 29, 2010

A singer, composer, conductor and photographer, José Cura is considered nowadays to be one of the most versatile artists of his generation. Born in Rosario (Argentina) in 1962, José Cura came to Europe in 1991, where he made his debut in Verona in 1992.

Performances in Turin, London and Paris followed. 1997, he made his debut at LaScala in Milan, 1999 at the Met. He is famous for his poignant, powerful and unmistakably individual interpretations of roles, among them Verdi's Otello and Don Carlos. Felix Schnieder-Henninger interviewed him.

Your first Otello?

José Cura: My Otello debut took place in 1997 at the Teatro Regio in Turin in a concert performance. The Berlin Philharmonic was playing under the direction of Claudio Abbado. Crazy, or what! I was 34 years old at that time and my interpretation was accordingly lyrical and stormy.

Has your view of the role changed since then?

Cura: After fifteen different productions and more than one hundred performances, one's interpretation changes radically. I have matured as an artist and as a human being - and the role along with me.

What does Verdi mean to you?

Cura: Verdi revolutionized opera. Before him, the opera was a place of pleasant sounds. The music attained little emotional depth. Then Verdi came and exclaimed, "Enough of that! Stop with this 'bel canto', this singing for beauty. Opera is theater, is 'melodramma'!"

How do you explain the South American tenor-miracle?

Cura: A few years back, all great tenors hailed from Europe, and no one thought anything about it. No one asked: "Why are all the tenors European?" - Why is it that now everyone is astonished that there are many good tenors in South America, too?

Your first opera?

Cura: I did not experience my first opera until I was 24. That's when I sang a very small role in Massenet's "Manon". To be honest, I hated opera as a teenager. I had this notion that opera might bore me to death - it's the way most young people think of it. For this reason, I am very much committed these days to proving and demonstrating the opposite to a younger generation.

What is the best way to get through the long hours on the plane en route to the next stage?

Cura: I love my time on the plane. Those are precious moments where one doesn't get disturbed and can read, write or design something with concentration. I have mapped out many drafts for projects on the plane and that's also where the crucial sentences for my novel were generated.

After opera singer, what would be your dream job?

Cura: Opera singer is actually not the job of my dreams at all. However, it is a privilege to be a good singer.

Translation: Monica B.

 

 

The Black Belt Sexy Tenor

Horizon

AN

When he was eight his piano teacher sent him home saying it was clearly audible he was not interested in music, but never mind—he had no talent anyway.  When he nevertheless decided to become a musician his father patted him on the back saying, ‘Alright son, be a musician but what job will you do?’ At the age of hardly 30 he sold his apartment in Argentina—for a quarter of his concert fee today—packed up his wife and baby and moved to Europe where he dreamt about music, while living in a garage and collecting firewood at night.  Then came the breakthrough, since when the world has known him as the ‘fourth tenor,’ the ‘sexy tenor’ and sometimes the ‘arrogant tenor.’ José Cura was in Budapest as this year’s star guest of the opera ball.  He talked to Horizon about roles, writing fiction and responsibility to God—without the slightest trace of arrogance.

When you left Argentina with your family for Europe you encountered extreme hardship.  What gave you faith and strength for such a change?

It’s in my genes.  My grandparents were immigrants from Lebanon, Italy and Spain.  They fled for survival to Argentina at the beginning of the 20^th century.   We are usually referred to as ‘remigrants’ because we return to Europe as the second or third generation.  It’s like the surge of the sea—it takes people from one corner of the Earth to another.

Will you settle in Madrid for good?

Yes, I’m planning to stay there.  When we left Argentina we only had our first child, who was still very little.  The other two were born over here.  For them, Argentina is only dad’s and mum’s homeland.  It wouldn’t be fair on them if we moved back, yet it’s conceivable that I will spend more time there in the future.

Most of your roles are connected to Verdi and Puccini—is it a personal attraction or are they the most appropriate for your voice?

My repertoire is basically French and Italian, and the latter’s two most important composers are Verdi and Puccini.  They also composed the most.  So it’s rather a question of quantity and specialization.  I’m a ‘specialist’ of this repertoire—even if it sounds rather funny.

Are they also your favourite composers?

I don’t have favourites, because a favourite somewhat limits you.  I’d rather say I sing their pieces with pleasure, though of course not all of them.

Does it help on stage that you not only have the voice but, as a former body builder and a Hung-Fu Black Belt, you also have a bearing for certain roles?

Very much so.  The biggest trouble with opera is that many people think that once they have a good singing voice it’ll make them a good opera singer.  But that’s a big mistake. An opera singer is one who can perform  and sing in equal measure.  If someone auditions for a musical but doesn’t know how to act, jump and sing all at the same time, they can get the boot. However, at an opera audition it’s enough for the singer to pull off the high C and the contract is signed.  Isn’t it a joke?  It’s constantly discussed how young people could be attracted to the opera, though there’s no secret in it.  There’s no need to be modern by having Aida arrive in a flying saucer and Troubadour on a Kawasaki.  That’s rubbish.  Young people also want real acting and real singing.  Many people are irritated because I attribute such significance to acting and I’m often criticized for it.  But that is the real revolution, not the many ridiculous ways of staging an opera, which is only about having a big sensation picked up by the media.

You do not seem to agree with the increasingly fashionable director-oriented opera.

I’ve also done crazy things.  It’s great if something is crazy, but full of ideas.  The trouble is when something is mad and empty, aiming only to stand out. You can undress naked on stage if it’s artistically necessary.  But if nudity replaces the message it is stupid and pathetic—just like those who buy tickets for a production because of that.  They’d be better off switching on the internet.  It’s full of nudity and you don’t even have to pay for it.

You became famous as a tenor when you began conduction, which was received with much incomprehension.

I’ve got to a point in life when I don’t want to set limits for myself.  For a long time I didn’t dare do certain thing because I was worried about what people would say. After a long time I started conducting and many people said: “Look at the tenor, now he’s conducting!” Though in fact I originally graduated as a composer and conductor. After a while I said to myself—I do what I feel like and everyone can say what they like.  If you always pay attention to others, in the end you do nothing.  God has given me a gift and if I don’t do anything with it because I’m afraid of public opinion eventually I will have to explain myself to Go.  If I use the gift then people criticize me, so I lose either way.  In the end I decided that if I had to fight anyway I’d rather fight with people than with God.

Have you got abilities you haven’t used yet?

I constantly discover something in myself, though of course everything is connected to the stage and arts. In 2007 I wrote a 15 minute monologue for a premier and I discovered I could write.  I thought why not? So now I’m writing—a lot. I’ve recently finished my first novel and now I’m working on some short stories.  I may never get them published, but then they will be my children’s inheritance.  Should I nevertheless see them published then of course people would immediately say:  “Who the devil do you think you are?”

What is the novel about?

It’s got something to do with my own experience, since no writer can get away from that.  But I can’t tell you what it’s exactly about. Imagine, should I be so lucky that it appears in print my publisher would knock me on the head for betraying the secret too early!