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Stiffelio, Met, January 2010: 'If [Plácido Domingo] didn’t quite save Boccanegra, neither did he sink Stiffelio with conducting that has progressed over the years from vague to basically okay. It’s an opera that has had a long and winding history, having been censored, bowdlerized, lost, and eventually reassembled for its first complete performances in 1993, featuring…Plácido Domingo. Giancarlo Del Monaco’s elegantly lugubrious production is back, and this time the role of the cuckolded reverend went to José Cura, one of several pretenders to the tenorissimo’s crown, who covered himself with respectability, if not quite with glory. Sondra Radvanovsky sang the role of Stiffelio’s wife Lina with irresistible rawness, alchemizing vocal iffiness into fierce intensity.' Justin Davidson, New York Magazine, 19 January 2010

Stiffelio, Met, January 2010: 'José Cura sings Stiffelio. He is a pupil of Domingo’s and, like him, a conductor, and like him, a tenor with a baritonal approach. This suits Stiffelio better than most Verdi tenor roles — the part sits low, the high lines come only at emotional climaxes, and Cura does emotional climaxes well. His meditative moments are pleasing, his more passionate ones edge into growling lack of clarity.' Opera Today, 18 January 2010

Stiffelio, Met, January 2010: 'The Saturday matinee I attended was sold out and the cheers from the packed house would have probably continued until the evening performance—had the houselights not come up. Tenor José Cura as the deeply conflicted title character, soprano Julianna Di Giacomo, his wife Lina, and baritone Andrzej Dobber, her father Stankar, headed a first-rate cast—all of whom sounded glorious and all of whom acted persuasively.' Stephanie Sutow, Bacharach Blog @ Proactive Leadership Mag, 10 Feb 2010

Cav and Pag, Zurich, June 2009: ‘José Cura was first the unfaithful farmer Turiddu and afterwards the betrayed Canio – both creatures of animal instinct. He mastered the premiere admirably with a singing / acting tour de force with a dark-timbre tenor rich in substance and an extremely spirited attack.’ Torbjörn Bergflödt, Suedkurier, 8 June 2009

Cav and Pag, Zurich, June 2009: The premiere’s central figure was José Cura, who took on both roles, that of Turiddu as well as Canio. As Turiddu, Cura was the ‘macho’ incarnate who, nevertheless, showed surprisingly much fear vis-à-vis Alfio, a carter of higher social standing among the men of this Sicilian village. He performed the Song to Lola so forcefully that his intent seemed the assertion of a claim rather than exuding charm. As things progressed, he found the way to ‘soft’ (piano) sounds which stood in contrast to his ringing out (to his metallizarre i suoni), a juxtaposition that fit in perfectly with the conception of the role. Canio was even better suited to the Argentine tenor than Turiddu. Masterful was, to be sure, how he kept balancing theatrical play and menacing seriousness already as early as his warning about make-believe theater and life not being the same, something he conveyed to an audience but actually addressed to the unfaithful Nedda. With the sound of sinewy tension and a surprising piano at the end, the tenor saw to a vocal texture and structuring of ‘Ridi, Pagliacco’ that was spellbinding. Th. Baltensweiler, Das Opernglas, July / August 2009

Cav and Pag, Zurich, June 2009: 'Opera right out of a picture postcard: Something clicks here---and Asagaroff ‘s skillful transformation of this story’s playfully comedic surface into the eventually profound, existential tragedy is an accomplishment that deserves respect. To an extraordinary degree, it is also due to the acting talents of José Cura, who is singing the part of Turiddu as well as that of Canio. Dazzlingly brilliant his voice in the sweeping melodic arches of Cavalleria, remarkably vigorous and lively in the articulation of the drinking song "Viva il vino spumeggiante". That has class and gives the impression of authenticity down to the last inch. Perhaps even more awesome is his Canio: an alcohol-dependent clown, grown old, who is living off what’s left of his former assets, and, mind you, does so in magnificent voice. His slight stagger as he exits the stage after the famous "Vesti la giubba" goes to the quick, yes even more than that, it is heart-rending.' Werner Pfister, Zürichsee-Zeitung, 8 June 2009

Cav and Pag, Zurich, June 2009: “This new production is especially noteworthy for the presence of José Cura….His charisma and the force of his interpretation reach full potential in the clothing of Canio, in impressive dramatic crescendo. As everyone knows, the Argentinian is a true stage animal…his ‘Vesti la giubba’ is staggering in its intensity and will remain in the memory, as will his final words which end the opera, launched not as a cry, as we often hear them, but as a nagging complaint, in half-voice, spine-tingling.” Claudio Poloni, Concerto Net

Cav and Pag, Zurich, June 2009: 'In the Wake of Infidelity: the Obligatory Knifing: José Cura, who lets Santuzza have the action in the first piece, turns into a melodramatic anti-hero, driven by jealousy, in the second part, in Pagliacci. The transition from play to reality is hardly noticeable with him. The clown who has seemingly been joking just a minute earlier appears dead serious the next; it’s of distressing ambiguity even for the spectator with knowledge in the matter. Since Enrico Caruso’s interpretation at the latest, the character of the clown is lachrymose, sentimental and full of self-pity. Cura endows him with that also and seems doubly lost in himself exactly because of his physical and vocal stage presence. And it is precisely this ‘mismatch’ of weakness in character and brute violence that logically, resolutely leads to tragedy.' Thomas Meyer, Tagesanzeiger, 8 June 2009

Cav and Pag, Zurich, June 2009: '…then PAGLIACCI: Here José Cura was now really in his element. Even his initial entrance onto the stage with Un grande spettacolo was already incredibly powerful and intense, followed by a keen and haunting interpretation of the cantabile Un tal gioco. To the most famous scene of this short opera Recitar…Vesti la giubba ultimately, Cura gave shape with thrillingly poignant vividness and forcefulness. As impotent alcoholic, Cura was also a totally convincing actor.' Kaspar Sannemann, Art-tv, 6. June 2009

Carmen, Vienna, Feb 09: '... But Carmen comes down to the two leads, and there must have been some astronomical anomaly behind the pairing of baroque specialist Vesselina Kasarova, new to the role, and the force of nature called José Cura: the two worked off each other to create an edge-of-your-seat intensity, offering blood-and-guts characterizations while never neglecting Bizet's score....[Cura] was clearly a brute in his lead-up to a staggeringly gorgeous, divinely phrased flower song. ...' Larry Lash, Opera News, May 2009

Cav & Pag, Met, Mar & Apr 09: '‘Cavalleria rusticana and Pagliacci showcased their second casts March 30, notably slowly led by Pietro Rizzo, one of several young new Met conductors this season. The ever-puzzling Argentine tenor José Cura took over the evening's double duty - Mascagni's Turiddu and Leoncavallo's Canio - from Roberto Alagna. Cura fared better in the Mascagni work, tapping into the self-hatred that most Turiddus miss, creating an interesting portrait of a somewhat weary village playboy fatally caught between duty and the call of one last fling. His method remains an odd one, but he managed good sound and gave the oft-shouted-through "Addio alla madre" a dynamic variety that made it the more moving. The almost-improvised-seeming Canio, for which Cura has all the assets, just didn't add up as a unified character and rarely sparked excitement.

Cav & Pag, Met, Mar & Apr 09: 'On Friday, I caught the final performance of the season revival of Zeffirelli's production of "Cav/Pag," a double-header of the Puccini-esque one-act operas "Cavalleria Rusticana" and "Pagliacci." The roles of Turiddu in "Cav" and Canio in "Pag" were shared between Robert Alagna for the past few performances and later Jose Cura.... I thought that Cura was in excellent voice and gave a strong performance in both operas. I always recommend this double bill of realismo melodramas for newcomers to opera.' Matt Windman, AM NewYork/New York City Theater, 13 April 2009

Cav & Pag, Met, Mar & Apr 09: 'The spotlight on the curtain just before it rose on Franco Zeffirelli’s almost too-accurate Sicilian mountain village drew from us soft gasps of alarm, but it was just an announcement that José Cura, though suffering from a cold, would be singing both leading tenor roles in any case. In the event, his opening serenade did indeed sound labored — but when was the last time you heard any tenor, even in the pink of health, sing that aria of sated love with an easy, leggiero line? For the rest of the night he was fine.....' John Yohalem, Opera Today, 7 April

Cav & Pag, Met, Mar & Apr 09: 'Double duty in Leoncavallo's "Cavalleria Rusticana" and Mascagni's "Pagliacci" has become common at the Metropolitan Opera. [...] Before this year, the only tenors to sing both "Cav" and "Pag" leads at the same Met performance were Kurt Baum, Placido Domingo, Frederick Jagel, Salvatore Licitra, Ermanno Mauro and Thomas Salignac. Now both Roberto Alagna and José Cura have performed the verismo doubleheader in the very same month. [...] Cura is not ideal but is far closer, with a baritonial timbre but a big bright side. He combined for thrilling duets with mezzo-soprano Ildiko Komlosi (Santuzza) in "Cavalleria" and soprano Nuccia Focile (Nedda) in "Pagliacci." His "Vesti la giubba" was penetrating [...] ' Ronald Blum, AP, 1 April 2009

Carmen, Vienna, Mar 09: '[…] in the role of Don José, José Cura may have wished for someone more spirited and energetic, as was witnessed in the dramatic Act Two duet, but it by no means influenced the star tenor's incredibly virile vocal performance and poignant, precisely sung interpretation. On the contrary: Cura is more than reliable and an absolute musical revelation in his present form and with all the vocal and dynamic refinement, which in taste and style is unequaled among his colleagues today. Ovations for him […].' Opernglas, March 2009

Andrea Chénier, Karlsruhe, Mar 09: 'The character of the revolutionary French poet is written into Cura’s body. Magnificent was the fiery appeal in the salon of the Coignys when he presents his ideals or before the tribunal when he defends his honor. Also the singing requirements [of the role] lie extremely well within his vocal chords. After a few unfocused moments in the first act, he raced from highlight to highlight, crowned by the scene that might be considered to have taken the honors of the evening, at the beginning of the fourth act, ‘Come un bel di di maggio,’ in which José Cura also found quiet, gentle tones.' Manfred Kraft, Neue Badische Nachrichten, 17 March 2009

Tosca, Vienna, Mar 09: 'Three artists with extraordinary stage instincts shaped this noble thriller in the 525^th performance of this production. José Cura is the extraordinary man familiar in illustration and from the beginning he scores points as the revolutionary and the lover, especially when facing the firing squad at the execution command, recognizing it as the consequence of the perfidy of Scarpia he had understood for a long time. The fact he proved, in defiance of his critics, that his is a still a serious singer positively rounded off his achievement of the evening. With almost sinewy stretched phrases, concentration, and brilliance in the high notes, he sang the aria and the duet in the first act with the requisite fervor, with convincing despair in the dungeon scene and hurled an ardent Vittoria at the police chief.' Peter Skorepa, Der Neue Merker, 5 March 2009

Carmen, Vienna, Mar 09: ‘... If one accepts that José Cura simply sings like José Cura, then one was also very pleased. This Don José (and by this I mean the character) is never a weakling with major psychological problems as portrayed by other singers, but a proud Navarreser who—while certainly under the influence of his Carmencita—walks a certain way that he maintains through the inevitable consequence. This also includes the way he kills Carmen with deliberation when she refuses to come back to him. This murder is no impulsive reaction but well thought-through with the foreknowledge that he will ultimately lose his life. Acting is certainly one of Cura’s most convincing achievements, but he also presented the Flower Aria [vocally] with great heart and much feeling. Huge applause at the end, and even the singer seemed pleased…..’ Kurt Vlach, Der Opernfreund, 4 March 2009

Tosca, Wiesbaden, Feb 09: ‘José Cura, the Argentine-born tenor who star could not rise high enough for some fans a few years ago has recently been specializing in Gala performances like this one in Wiesbaden. In vocal terms, Cura proved to be a nearly perfect Puccini singer whose voice in piano suggests iridescent colors; in forte, a metal sound may be present. His aria in the third act (E lucevan le stelle) was a trace reserved, his vocal union with Mario de Rose, guest director of the Hessischen Staatsorchester, flawless.’ Axel Zibulski, Main-Rheiner, 23 Feb 09

Carmen, Vienna, Feb 09: ‘As to José Cura as Don José, the criticism leaves a little good hair, but he is at least honest to the fingertips. Certainly, the mezza voce of the Flower song does not make his voice happy, but as soon as he let loose with impetus, he does so with full commitment and therefore also to full effect. And he is a fascinating actor, especially at the end. Unlike many of his contemporaries in the role he does not transform into a begging weakling who sprawls at Carmen’s feet pleading desperately. This José, who in the third act has already made plain how much his honor has been violated by Carmen’s behavior, tries one more time to settle things, to give her one last chance: when she pushes him away, he does what must be done without emotion. He stabs her, wipes the bloody knife on his pants and turns away. No whimpering breakdown over the corpse. Perhaps too macho but in any case, a man of honor. And a highly impressive performance….’ Renate Wagner, Der Neue Merkur, 1 Mar 2009

Carmen, Vienna, Feb 09: ‘At moments of strength, José Cura (as Don José) convinced; however, where it became intimate he came to the edge of his pianissimo art. Nothing new here, but in any case an intense, raging performance.’ Ljubiša Tošić / Der Standard, 27 Feb 09

Carmen, Vienna, Feb 09: ‘José Cura, who seems to relish the role, seemed almost indifferent in the first act, thawing only with the Flower Song. He sang with unexpected control – and suddenly one felt what is actually in the voice, if it is reined in to meet the part. After an emotionally strong third act, Cura changed in the finale to a desperate, introverted underdog, who begs for love and can not tolerate Carmen’s superiority any longer. Thus the murder becomes the impulsive act of a man with no reason to live begging for one last toke of love.’ Dominik Troger, Operinwien, 25 Feb 09

Carmen, Vienna, Feb 09: ‘At the very forefront is the concentrated power by the name of José Cura: manly and massive is his tenor, but capable of caressing tones.’ Christoph Irrgeher, Wiener Zeitung, 27 Feb 09

Stiffelio, Vienna, Feb 09: "Star tenor José Cura interpreted the title character with increasing fervor and vocal power. He formed a credible, multi-faceted character." Rainer Elstner, Wiener Zeitung, 11 February 2009

Stiffelio, Vienna, Feb 09: 'The hapless man of God, Stiffelio, arrived (as in the last few years) with José Cura and it is certainly one of his best roles - he does not do much yet conveys the internal struggles credibly. Vocally, we have heard the same for some time: passages with real, beautiful tenorial brilliance - and all too many in which he audibly does not control his voice. ...Applause.' Renate Wagner, Der Neue Merkur, February 2009

Stiffelio, Vienna, Feb 09: '... with distinctive baritone and manly roughness in the low [notes] and with lots of strange sounding tones in the high, José Cura appeared as the preacher who was cheated on. Those who do not like him will always knock the effusive style of his singing while those who like him can almost always take pleasure in his intense singing and acting portrait in the role, as happened this evening when he thanked with much applause. To try to bind Cura to a bel canto song line would require a renunciation of intensity and expression.' Peter Skorepa, Der Neue Merkur, February 2009

Stiffelio, Vienna, Feb 09: "For José Cura (who also sings Don José in Carmen from February 25) the role of the sectarian priest Stiffelio is an ideal one: he perfectly displays the warmth of a religious leader at the beginning, later the despair during his budding jealousy and the rage of the offended man. Throughout, Cura is always Cura, an extraordinary figure and a unique personality. In that he outshines most of his tenor colleagues. Cura not only portrays his character with great sensitivity for human emotions, he obviously also feels them himself! And he convinces vocally, creates nuances and moods with his dark tenor voice; equally convincing his art of expression and phrasing. His wife Lina’s brief affair provokes in this brooding missionary a range of emotions far from pious, even a desire to fight a duel with his rival Raffaele […]. Ovations!" Rainer Elstner, Wiener Zeitung, 11 February 2009

Cav and Pag, Mannheim, Nov 2008: Quite at the end of the fun, when the compelling murder [drama] becomes serious, José Cura suddenly pulled out the emergency registers and sang like a God. With more and more stress, with more and more brilliance, with more and more strength his Canio demanded of Nedda the name of her lover…before he stabbed them both. The national theater orchestra under Alexander Kalajdzic carried Cura on the blazing sound that forms the foundation of the horror and ends the festive opera evening which began with an announcement from the director: “José Cura will sing, although he was very sick with a cold.” During much of the evening Cura was demonstrably ill. He was exhausted. Almost feverish. And yet he sang well, and even better at the end….Morgenweb, Stefan Dettling, 25 November 2008

Cav and Pag, Mannheim, Nov 2008: The good news: He came and he sang. The bad: Top singer José Cura, cast in both the tenor leads of Mascagni’s Cavalleria rusticana and Leoncavallo’s Pagliacci at the Mannheim Opera Gala at the National Theater, had a very bad cold. He fought, however, bravely. Cura sang and performed with emotional intensity, unconditional will in expression and passionate stress in diction, completely in harmony with the verismo style of both one-act plays. Both of these stage characters, the fiery Sicilian village Don Juan, the daredevil and macho Turiddu, and the hot-blooded and crude theater director of the travelling troupe, received extremely distinct profiles and worked convincingly in the representation offered by the Argentine singer. Add to that the exquisite sound quality of Cura’s dramatic tenor. The Argentine deftly hid the vocal difficulties caused by his illness ..... Die Rheinpfalz, Gabor Halascz, 25 November 2008

Fanciulla del west, London, Sept 2008: 'Jose Cura is well known to London audiences as Dick Johnson, a role that fits him like a glove. As the bandit transformed by the love of a good woman, he is in sensational voice and a dominant and potent presence.' The Stage, George Hall, 17 September 2008

Fanciulla del west, London, Sept 2008: 'José Cura’s Dick Johnson returned from the 2005 cast, in throatier voice, but still with ringing top notes. ... [H]e looks the Latin-American bandit to perfection. I doubt he can be bettered in this role today.' The Times, Hugh Canning, 21 September 2008

Fanciulla del west, London, Sept 2008: '.... tenor José Cura has never looked so swaggering or sounded so thrilling in the role of Ramirez.' Metro, Warwick Thompson, 17 September 2008

Fanciulla del west, London, Sept 2008: 'José Cura (Dick Johnson) returned to the role he had previously sung in 2005 at Covent Garden in wonderful vocal health. His was a much understated, subtly emotional, performance throughout Act I in the playful delicate blossoming of love between him and Minnie and which continued through their duet (of sorts) in Act II. After that he doesn’t get much chance for further passion because he is soon shot and seemingly fatally wounded. Of course, Johnson/Ramirez recovers and Cura was exaltedly impassioned when singing Ch’ella mi creda libera in Act III. There was an ease and command to his performance throughout the whole evening allied to a burnished baritonal timbre and effortless, ringing, high notes.' Seen and Heard, Jim Pritchard, 16 September 2008

Fanciulla del west, London, Sept 2008: 'José Cura ... physically and vocally has the dark, swarthy complexion the role requires.' The Independent, Edward Seckerson, 19 September 2008

Fanciulla del west, London, Sept 2008: 'José Cura [played the bandit with] warm and powerful voice.' El Mundo Eduardo Suárez, 17 September 2008

Fanciulla del west, London, Sept 2008: 'José Cura didn't disappoint. Visually Cura is perfect for the part: handsome, charismatic, a little rough around the edges and his voice, too, lives up to the hype; the showcase 'Ch'ella mi creda' aria could have been a touch more lingering, but elsewhere he was close to perfection.' Music OMH, Laura Battle, September 2008

Fanciulla del west, London, Sept 2008: 'Cura sings with muscular energy, and he’s the macho bandit to the hilt.' The Times, Neil Fisher, 18 September 2008

Fanciulla del west, London, Sept 2008: '[Cura's] Dick Johnson has plenty of bravado, and, when he gets into his vocal stride, he can sound mighty impressive.' The Telegraph, Rupert Christiansen, 19 September 2008

Fanciulla del west, London, Sept 2008: Cura's Dick Johnson is a magnificent role assumption; indeed it's one of his finest, in my opinion. The expressive vocal writing – free and conversational rather than classically rigid - is well matched to his talents, while it's a treat to see a singer-actor of his stature inhabit a character as fully as he does here. He's every bit Ramirez the Bandit, and he made a particular impression in the final two acts – which call upon him to declare passion, fall about dizzily while bleeding from a severe wound and give a moving speech before his death – at this performance. Dominic McHughes, Musical Criticism, 17 September 2009

Edgar, Torino, June/July 2008: [Edgar] has the charm and stage presence of the intriguing José Cura as a point of strength. Certainly the part is very complex and there is some forcing perceived when his singing is dramatically taut and angry, but in some of the phrases in the duet in the last act, Cura lightened his voice and offered beautiful moments of lovely relaxation, confirming him as one of the top tenors of the time. Alessandro Mormile, L’Opera, Aug 2008

Samson et Dalila, Bologna, June 2008: [...] The merit of the final scene goes to José Cura, who seems reborn and purposefully refining the interpretation of the role that fits him so perfectly. Beside him we must note, as the principal interpreter of the work, the Coro del Comunale, now in the hands of Paolo Vero who has moved to Bologna from Palermo. The rest of the cast was less convincing—Julia Gertseva combined remarkable beauty with the sensuality of a curbstone and Mark Rucker, a mediocre singer despite a significant voice (the Gran Sacerdote). It was business as usual for Mario Luperi as Abimelech. Director Michal Znaniecki did not convince … The costumes by Isabelle Comte were beautiful for Dalila, less beautiful for others, and tedious for the chorus of the Philistines, encumbered by enormous onions on their heads. Even less convincing was the choreography by Aline Nari, especially in the Bacchanal, which featured rapes and physical violence of all kinds, in absolute dissociation with the music. Michelangelo Zurletti, La Repubblica, 2 June 08

Samson et Dalila, Bologna, June 2008: Dalila, the beautiful Philistine who betrays Samson for racial hatred and thirst for revenge, truly the dark heroine in the work, is Russian mezzo Julia Gersteva. She is beautiful, with a sumptuous voice, sings well, and is both musical and a musician. However, just as in Bizet’s Carmen heard recently at the Maggio Musicale, and even though this role has less weight (Dalila does not have the complex facets of Carmen) there is that necessary spark of inexpressible femininity that renders an artist an excellent professional that simply fails to materialize. Unlike the performance of José Cura. In the first act, shirt opened across his buff chest, he runs agilely up and down the metallic stairs that divides the two levels of the set designed by Tiziano Santi, with the oppressive Philistines occupying the upper level, the oppressed Jews on the lower one. One suspects the inspiration is more Cecil B. De Mille and his colossal Hollywood [epic] than Saint-Saëns, since the promise of years ago of the heroic voice is lost in the opacity of the timbre that did not ring. But if the instrument may not be what it was, any ungenerous thought is swept away in the second act, that of seduction and betrayal, where the emphasis is more intimate and uncertain to prepare for the arrival of the true emotions that comes in the third act, where shorn, wounded, and suffering, [Cura] shows himself to be a mature and sensitive interpreter, with the true timbre of an artist. Rosalinde Vanni, Il Sole 24 Ore, 5 June 2008

Samson et Dalila, Bologna, June 2008: The predominant tessitura of Samson is congenial to both the beautiful voice of José Cura and his temperament. The broad timbre, encased in burnished velvet, is at its best in the middle tones…in the third act the singer offers the best of himself and the results are excellent, showcasing a man defeated but not tamed, making credible and touching the prolonged moral agony. This Samson, in fact, is not drawn from the religious, maintains at all time a very strong human nature with no hidden ‘divine mission,’ combining fragility and vulnerability to make the events even more tragic. Francesco Rapaccioni, Teatro.Org, 6 June 2008

Tosca DVD (Bari): This thoroughly conventional production from Bari could have been staged any time during the past 40 years. It is lifted above the ordinary, however, by the impassioned and exemplary singing of José Cura. . . . Opera Now, March/April 2008

Salva Vita Concert, Hungary, Feb 08: The cracking noise of dilapidated chairs, mind-shaking sneezes during the intervals between the movements, tiny snorts, fidgeting, suppressed coughs were always part of every, however remarkable, production. Even if it was a masterpiece of the music literature by interpretation of any big name musician, I have not had the luck to attend a concert without these annoying distractions. On this occasion, there aren’t any whatsoever. The good old Music Hall is packed to full capacity - Even a whisper does not break the silence between the movements. Heavy, almost palpable the silence in the auditorium, before the sounds of the dark, pulsating, powerful, and passionate music chills us to the bone, and José Cura puts us completely under his spell. Katalin Lévay, Népszava Online, 12 Feb 08

Le Cid, Zurich, Jan 2008: The chance to embody the right character and thus help a forgotten opera to its revival on international stages during the past years, as happened to the introverted Neil Shicoff in Halevy’s La Juive, is the chance of José Cura found in Le Cid. In spite of the sudden and tragic death of his father in the morning of the premiere, the Argentine star tenor was willing to sing (in a co-production of the Zurich Opera House and the Theatre du Capitole Toulouse) and to act, what must be added straight away. It is as if the figure of Rodrigue, the legendary Spanish war hero in this effective and artistic four-act opera, was been made for José Cura, both with his macho-like extroversion as well as with his tender musically miraculous visions. Trumpet-like high notes stood beside tenderly breathed passages. The dynamic range of the song creation seemed almost to burst the relatively small frame of the Zurich opera-house, particularly as Massenet's rich orchestration does not spare the brass and is generous in using rhythmic effects in the remembrance technique of the melody flow. Everything had form, and the brilliance of the whole performance let the technical skill of this (not unlike Italian Verdi dramaturgically) French "Troubadour" shimmer so that the work that could be heard to greater effect in the Met or in the big festival performance house of Salzburg (Salzburg Grosses Festspielhaus). Das Opernglas, Feb 2008

Le Cid, Zurich, Jan 2008: José Cura...painted an impressive portrait of Rodrigue, this hero who is torn between love and family honor. The highlight was surely the scene of Chimene and her duet with Rodrigue, in which both protagonists, Isabelle Kabatu and Jose Cura, charmed (the audience) with nuanced acting and singing. Appreciation to the director for creating an impressionistic picture, intimate and full of atmosphere, to go with Rodrigue’s prayer (‘O souverain, o juge, o pere...’: Cura performed this prayer brilliantly, with bravura), appreciation that he (Joel) -- impressive in showing the solitude, the loneliness of the hero. The music making was once more primarily in the mezzo-forte and forte range. No problem for Kabatu and Cura; they have powerful, interesting voices at their command with almost inexhaustible reserves of energy. Art-TV, 15 Jan 2008

Le Cid, Zurich, Jan 2008: Given the vocal ‘forza’ and the expressive power and effectiveness, which the Argentinean singer was able to put into the part of the protagonist, one cannot but admire the professionalism of this artist. Bravo! Torbjoern Bergfloedt, Aargauer Zeitung, 15 Jan 2008

Turandot, Zurich, Dec 07 / Jan 08: The Calaf of José Cura, whose timbre confirms his suitability for Puccini roles, is carefully considered and convincing. Cura, a singer naturally endowed with great stage charisma, is able to give his character creditable phrasing and studied sensitivity, blending everything with an awareness of stage and theater that makes his characters theatrically complete, dramatic and engaging. L'Opera, Feb 2008

Concert, Eindhoven, Nov 2007: There are tenors and TENORS. With tenor we refer to a singer, whereas TENOR refers to a way of life. TENORS play on an audience, not to them. They mould the music, they work their way towards that one high note and hold it for as long as possible. All this is accomplished with the unconditional approval of the audience that wishes for nothing but the unabashed TENOR attitude. And exactly this is what the Eindhoven audience got last weekend. With José Cura – ranking with Pavarotti, but in better shape and with less ado around his person. Eindhovens Dagblad 5 November 2007

Samson et Dalila in Concert, Buenos Aires, Jun 2007: The indisputable star of the night was José Cura’s performance. From his initial appearance, almost magical, materializing in the middle of the chorus, singing as he came down the stairs to the edge of the stage, the adrenaline raced through the auditorium. His voice sounded marvellous, with excellent volume, beautiful timber—almost baritonal—the particular emphasis he put on his statements and the incredible array of vocal resources that he used. And his work as an actor carried his unmistakable stamp. Samson seems to fit him like a ring on a finger. The quality of his contribution did not waiver through the performance and he received a well-deserved ovation. Cura really is a Divo, with all this word implies. Everything with him is grandiloquent but without doubt he is one of those singers for whom every phrase, every sound he emits has a special value, a bonus. Dr. Alberto Leal, Canto, August 2007

Samson et Dalila in Concert, Buenos Aires, Jun 2007: As to José Cura, he convinced me by the end of the performance. After a start in which he offered a very personal interpretation, one that continued until the beginning of the third act, he made a turn and frankly managed to convince me totally as an actor and as well as with his vocal delivery, emphatically projecting the drama to come and the fate of Samson and this is where I point out that without a doubt the first (two) acts are more José Cura than Samson but the third is Samson winning over José Cura and that is the key to his triumph. Donato Fabián Decina, La Opera BuenAyre, August 2007

Norma, Vienna, Nov 2007: 'In his role debut, José Cura finds the correct sound for the thankless role of Pollione. Cura's tenor is Italianate and has a lot of bloom. And even if his voice is growing more and more baritonal, all the necessary high notes remain.' Peter Jarolin, Kurier, 18 Nov 2007

Norma, Vienna, Nov 2007: 'José Cura as Pollione scores with radiant high notes and romantic bloom ....' Christina Mondolfo, Wiener Zeitung, 19 Nov 2007

Norma, Vienna, Nov 2007: 'The third person in this alliance was José Cura as Pollione. Certainly he is not known as a bel canto singer; however he was able to sing the line very well, to pull his voice back and adapt it to the form resulting in a beautiful partnership with the song. This was already apparent in his entrance aria. Other houses can only envy Vienna this trio in a performance.' Martin Robert Botz, Der Neue Merker, Nov 2007

Norma, Vienna, Nov 2007: José Cura offered a Pollione of much baritone-colored testosterone, which overlay the actual singing line. Bel canto in the classic sense is not to be expected of Cura in any case [and] those who perhaps legitimately demand this requirement will be hard to satisfy with this casting; on the other hand, if Cura's special idiosyncrasies are accepted, one will also find much good in his Pollione. He sums up his operatic heroes quite well: this time the love-struck Roman is battle-tested and mounts the pyre with head held high.' Dominik Troger, OperinWein, Nov 2007

Le Cid, Zurich, Jan 2008: Intense emotions- tears –not only on stage but in the entire opera house: The standing ovations which the audience offered José Cura spontaneously after the Zurich premiere of the rarely performed Massenet opera ‘Le Cid’ were not just for his great performance as tenor but also for his selfless appearance on stage. The Argentine had received word of the sudden and apparently entirely surprising death of his father in his homeland only that very morning. However, Cura did not abandon the ensemble especially since a replacement for such a rarely performed role as that of the Spanish hero ‘Le Cid’ could hardly have been found. The plea of managing director Alexander Pereira for positive energies was granted: Cura sang a grand performance – and dedicated it to his father. Alexander Dick, Badische Zeitung, 15 Jan 2008

Cavalleria rusticana and Pagliacci, Cologne, Oct 2007: A rollicking atmosphere, a full house, “Bravos!!” shouted for José Cura, the guest star in the return of Mascagni’s Cavalleria rusticana and Leoncavallo’s Bajazzo in the Cologne Opera. […] By nature attractive in features, voice and play, Cura sang with furor, passion and light... Gerhard Bauer, Kölner Stadt-Anzeiger, 28 Oct 2007

Andrea Chénier, Barcelona, Sept 2007: In the main role, the Argentinian tenor José Cura provided an intense portrait of the poet Andrea Chénier, convincing in the colour, the quality and the power of a voice produced with extreme ability, [...] voices of this caliber are seldom heard. Javier Pérez Senz, El País, 17 Sept 2007

Andrea Chénier, Barcelona, Sept 2007: Andrea Chénier is an opera to bring out the best of a tenor and José Cura has got the appropriate, focused and "thick" voice to triumph in that role. Albert Vilardell, El Mundo, 27 Sept 2007

Andrea Chénier, Barcelona, Sept 2007: José Cura was a fully convincing Chénier, here in ideal vocal condition, possessing high notes, appropriate phrasing and dramatic intensity. Pablo Meléndez-Haddad, ABC, 25 Sept 2007

Andrea Chénier, Barcelona, Sept 2007: Precious, with a brilliant timbre, ductile, malleable colours, is the voice of José Cura. Jorge de Persia, La Vanguardia, 27 Sept 2007

Carmen, Bucharest, Sept 2007: What [...] was there to see, in the first show hosted by the Bucharest National Opera in this edition of the "George Enescu" Festival? Jose Cura himself – a handsome, temperamental, sensitive singer – the kind we hadn’t seen on our stages for a very long time – a high-class and intelligent artist, who knows that "characters should be solid, because the stage is merciless and you can fall as fast as a meteorite...". A man who probably creates a magnetic field around him, wherever he goes, and naturally attracts appraisal, due to the mysterious force of his celebrity....A new triumph for... Jose Cura! Luminita Arvunescu, Radio Romania Muzical - 10 September 2007

Concert, Halle with Anna Netrebko, Aug 2007: The audience of more than 8000 in the sold-out Gerry Weber Stadium responded enthusiastically Wednesday evening to soprano Anna Netrebko and tenor José Cura. That Cura was virtually a last minute “replacement” for Netrebko’s [usual] dream partner, Rolando Villazón, in no way led to any diminution of the concert event. On the contrary: the Argentine tenor, who is not only a singer but also a composer, conductor, and photographer, convinced with his very expressive voice and his appealing manner, particularly apparent in his interaction with Anna Netrebko. ...From this evening on - Villazón may not want to hear this -we can speak of a “new” dream couple: “Netrebko and Cura.” Hans-Jürgen Amtage, Mindener Tageblatt, 24 Aug 2007

Concert, Halle with Anna Netrebko, Aug 2007: Argentine tenor José Cura was a more than equal partner. Dream couple Rolando Villazón has cancelled all performances until the end of the year in the hopes of regaining his voice. As a result, replacements had to be found for the tour and while Marcelo Álvarez in Cologne seemed to pale next to Anna Netrebko, Cura filled the stadium with an imposing appearance and a strong tenor voice rich in nuance. So convincing was he that he even received more applause than the Russian diva for his solos from Andrea Chénier and the "Recitar" from Leoncavallo’s Pagliacci....Cura was a self-confident partner for Netrebko, able to engage in small jokes and shared kisses and, while inevitably compared with Villazón, was most agreeable. Ralf Döring, Osnabrucker Zeitung, 24 August 2007

Samson et Dalila in Concert, Buenos Aires, Jun 2007: José Cura, in the role that perfectly suits his histrionics on stage and which he was profusely and brilliantly represented, had to adapt to the modality described above. Undoubtedly, he maintains is charisma intact, his voice powerful, and his interpretation of this Judge of Israel converted in a warrior leader looking for his people's freedom is simply magnificent... Mario F. Vivino, Ópera Actual, September 2007

Samson et Dalila in Concert, Buenos Aires, Jun 2007: In the splendid opening performance of this concert version programmed by Teatro Colón, José Cura, stunning vocally and also profoundly convincing as an actor, clearly demonstrated the significance of space in heightening the dramatic effect from the start [of the opera] in his manner of interacting with the chorus. ... with powerful yet subtle voice, Cura took delight in the pianissimos, in raising the pitch, and even in groaning. His character literally took body and his voice became part of that body. Diego Fischerman, Pagina/12, 25 June 2007

Samson et Dalila in Concert, Buenos Aires, Jun 2007: The absence of a full staging leaves the voice as principal, though not the only tool to feel each of the multiple states of mind. And in this sense Cura surpassed the others with his brilliance. Flirting with some overacting but never actually doing it, Cura applied an infinite number of vocal devices to his singing, with overwhelming artistic excellence. Thus, Samson sighs agonizingly in the lamentation of the third act and his singing is perfectly audible and touching, he harangues the Hebrews almost like a Wagnerian tenor or demonstrates all his doubts in front of the lurking Dalila with a inevitable musical conviction....The first delights came when the choir, prepared by Salvatore Caputo, began from an imperceptible, perfectly tuned pianissimo, and advanced in increasing volume and intentions to build a fugue shaped with enough freedom by Saint-Saëns to allow the Hebrew slaves to sing of their despair. And when from the center of the choir, hidden among so many dark clothing, there arose the powerful, overwhelming and magnificent voice of José Cura, there followed astonishment, fascination and wonder. Pablo Kohan, La Nacion, 25 June 2007

La Commedia é finita, Rijeka, Jun 2007: It is undeniable that Cura’s directing is all about enhancing, all about bringing out feelings as well as powerful and primitive passions; all about taking advantage of the entire stage area (including the spaces on the sides and the stalls), about dynamism and theatrical vitality. There is no doubt that it kept the audience spellbound. On stage, we experienced a José Cura who was more than ever passionate and thrilling, immersed to the last fiber of his being in his character, among other things undertaking the Prolog successfully (in baritonal tessitura). There was show-stopping applause for “No, Pagliaccio non son”; still, a certain understandable tiredness of voice could be detected. La Voce del Popolo, June 2007

Il Trovatore DVD: All four are in excellent voice. Cura...supports Naef with beautiful quiet singing... Hvorostovsky is formidable... There are two other filmed Trovatore’s available at present. For a combination of musical excellence and intelligent production neither comes close to this one.... International Record Review

Samson et Dalila in Concert, Buenos Aires, Jun 2007: José Cura as `Samson' was impressive. From the initial scene, in which he emerges from the rows of the choir, his volume and commitment were captivating. In the first act he favored the use of subtlety, in the second he shaded his expressiveness to show his love, and he reached his best moments in the beginning of the third act with his concentrated painful expression and singing in a highly pleasing mezzo voce. It is possible to agree or not with his way of expressing and with some of the tricks of a singer with such solid experience but it is impossible to stay indifferent to his singing and artistic expression. Gustavo Gabriel Otero, MundoClasico, June 2007

Samson et Dalila in Concert, Buenos Aires, Jun 2007: If a musical event depends on the presence of a great artist on stage, that is what happened with Camille Saint-Saëns’ “Samson et Dalila.” The tenor José Cura, in the main role of this masterpiece of French opera, was incomparable. His vocal qualities are exceptional, his musicality ideal and the force of his delivery impressive. To this it is necessary to add his charisma. ...Cura was the pillar of this Samson and Dalila. Eduardo Giorello, Ambitoweb, 25 June 2007

Samson et Dalila in Concert, Buenos Aires, Jun 2007: Cura (Samsón) highlighted a powerful dark tone, full of color, very supple in nuances, completely homogeneous and expressed with astonishing naturalness. And though conceptually he exaggerated somewhat his rage and the vocal contrasts of the characters (he is brave and strong in the first act…blind, weak and reduced to servitude in the last), his work showed without doubt that he is one of the principal singers of the world at the moment. La Prensa, 25 June 2007

Aida, Palermo, April 1998: ‘On the night of Palermo’s musical resurrection the true hero of Aida, monumental but restrained, was José Cura.’ Corriere della Sera, April 1998

Andrea Chénier, London, April 1998: 'The role of Chénier is tailor-made for him: there is something viscerally exciting about his platform presence.' Opera, May 1998

Don Carlo, Vienna, Dec 2006: José Cura, a “Method” actor if there ever was one, cut a dashing figure in black leather with a red ribbon; his Carlo was unhinged from the get-go. The role lies perfectly for his chiaroscuro-producing, baritonal tenor, permitting some indulgent but thrilling Corelli-like sustained top notes. Larry Lash, Opera News, April 2007

Otello DVD, Barcelona Feb 2006: José Cura remains something of an enigma...He's an intelligent actor with the ability to get inside a role; he can sing exquisitely with beautiful phrasing and scrupulously controlled tones; but then he produces great stretches that simply lack the 'wow factor' a tenor ought to have. This is true in this production from Barcelona. Cura is, at times, thrilling, his portrayal totally believable.... R Fawkes, Opera Now, May / June 2007

Stiffelio, London, April 2007: [Cura's] tone was exciting in the graveyard scene, and both of the final scenes were deeply moving; his acting was unflaggingly dedicated throughout. Dominic McHugh. Musical Criticism, April 2007

Stiffelio, London, April 2007: 'Twelve years on, its latest revival effectively allows Cura to return to the role that made him famous. His performance remains compelling in its erratic brilliance. His carnal presence offsets the fiery, eruptive fanaticism that glows in his eyes. Faced with this conflicted creature, you understand why Lina (Sondra Radvanovsky) has sought sexual happiness elsewhere yet remains emotionally attached.' Tim Ashely, Guardian, April 2007

Stiffelio, London, April 2007: 'José Cura a tower of strength as the preacher Stiffelio....' George Hall, The Stage, 23 April 2007

Stiffelio, London, April 2007: 'José Cura's glassy eyed stare at the work's conclusion made no promises for the future of the relationship, and it made a lot of sense after the tenor's emotionally giving performance. Stiffelio's animalistic, Otello-like rage was kept firmly under lock and key, and when it did burst forth, it did so with venomous fury. Vocally, Cura's inhumanly baritonal tenor ....found a noble and exciting ring .' Dave Paxton, Music OMH, April 2007

Le Villi, Genova, March 2007: José Cura provokes conflicting sentiments and passions: cheers or disapproval. In the reviewed performances [7 March 07] he triggered applause from the audience after singing, with touching accents of remorse, “Torna ai felici dì” in an intimate, almost chamber-music like manner. Cura always sings with generosity, and here the voice doesn’t need the freshness and high notes he sometimes swallows. For my part, I grant him the unrestrained, and perhaps even irrational, use of a voice kissed by God which continues to offer such emotions. Marilisa Lazzari. OperaClick, March 2007

Turandot, Shanghai, February 2007: [Cura] stretched on the ground to sing his famous aria "Nessun Dorma," perfectly striking high B. His melodious vocals with beautifully held top notes were expertly controlled. Michelle Qiao, Shanghai Daily, 10 February 2007

Otello, Mannheim, January 2007: José Cura offered a strongly projected Otello. His vocal strengths, which includes a darkly baritonal tenor and a strong inclination toward the dramatic subject, makes him an extraordinarily gifted actor, so much so that the final words of his last aria—the infinitely tender and equally hopeless “un altro baccio…” –before he breathes his last and sinks onto the lifeless body of Desdemona literally left not a single dry eye in the theater. Stefan M. Dettliner, Mannheim Morgener, 30 January 2007

Belfast Concert, October 2006: The starry opening concert brought a Belfast début with the Ulster Orchestra for Argentinian tenor José Cura, one of those singers whose voice so fits him like a glove it gives him the freedom of movement of any well-fitting garment. He conducts, too, and not without skill… Michael Dervan, Irish Times, 24 October 2006

Pagliacci, Berlin, January 2007: Deutsche Oper had to send José Cura into the race after the interval with Leoncavallo´s Pagliacci to be able to top the great performance of Cavalleria rusticana. Cura, who was the Pagliaccio in the premiere in April 2005, offers the most possibly refined and at the same time most natural tenor voice, he plays with it artistically in all possible levels, and possesses immense resources. Add to that his nearly agonizingly urgent stage presence and art of performing, which leaves the audience frozen in admiration. Volker Tarnow, Berliner Morgenpost, 13 January 2007

Don Carlo, Vienna, December 2006: Overall, the Argentinian has a shattering interpretative presence and his highly disciplined vocal style, effortless production, and virile tenor timbre hit the nail on the head in his musical interpretation; so much so that it overshadowed most of his colleagues. That obviously means a certain danger for other prominent names, particularly as this character is an important mosaic stone in the documentation of role versatility (and makes) the name of “Cura” stands stronger today than ever before. M. Lehnert, Opernglas, January 2007

Tosca, Baden, January 2007: José Cura is, above all, a stage animal in the best sense, and his presence left some of the house singers standing somewhat helplessly on stage. In addition, The Argentine offered an enormous variety of color in his sparkling tenor voice, cultivated with power and always used with a perfect air of leadership.... Frank Baye, KlassicCom, 15 January 2007

Tosca, Palermo, January 2007: José Cura was rewarded by the warmest applause which was not threatened by spicy signs of resentment evidently pointed toward Deflo. Cura created confidence with his presence, in spite of undertaking his task at the last moment and for one evening only. His was an impressive Cavaradossi, especially in the intensity of his “E lucevan le stelle,” with its expressive fullness. Sara Patera, Giornale di Sicilia, January 2007

Turandot, Turin, October 2006: Highest marks go to José Cura. His Calaf is impetuous, at times rabid. He is extraordinary in Nessun dorma, an aria that is often used as a mirror in which tenors admire their skill. But why indeed is it Nessun dorma? Nessun dorma because there is an edict from Turandot, the last gasp of her power. Nessun dorma because she wants to discover the identity of Calaf. In the town, then, there is anything but tranquility and sweetness: instead, there is restlessness, apprehension. And in the same way Calaf is not about sweetness but about power: all'alba vincerò -- at dawn, I will win. Vincerò Turandot: the conquest of a fortress rather than the dream of love. In these notes José Cura never looks in the mirror, never tries to simply show off his voice but instead to use it in the service of his goal of conquest, the source of which is barely controlled anger. Stefano Mola, Trapsi, 10 October 2006

Andrea Chénier, Bologna, January 2006 (DVD): 'Passion was a keyword for that disc and passion is what he emits in this role from the very first appearance, with a glowing Un di all’azzurro spazio. He sings the furious Si fu soldato in the trial scene (act III) with no safety net. The sad Come un bel di di maggio in the last act is begun almost as a dream, lightly sung with some embellishments to the line before he opens out to a heartfelt, glorious climax, greeted with ovations from the audience.' Göran Forsling, Music Web International, September 2006

Turandot, Zurich, April 2006: 'I had expected a generous and committed physical performance; I hadn’t anticipated an impeccable vocal one too. Cura can be an annoyingly wayward singer at times, but obviously found this production congenial and was on best behaviour. A well-nigh perfect ‘Nessun dorma’ capped an exciting interpretation that played well to Cura’s ebullient Action Man strengths.' Francis Muzzu, Opera Now, September / October 2006

Concert, Rijeka (Croatia), July 2006: 'To all who ventured yesterday evening to windy Trsat it is now certainly 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 opera experience as I did during this concert performance." Branimir Pofuk, Jutarnji List, July 2006

Butterfly, Vienna, May 2006: 'Something else of great importance: José Cura and the orchestra. The (singer) conductor offered up a first-rate reading of the composition and proved that the expression of sensitive, tender emotions does not need either sentimentality (schmaltz) or sugary sweetness. The members of the (philharmonic) orchestra were totally committed, accepted him without reservation and also 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.' Martin Robert Botz, Der Neue Merkur, May 2006 / translation Monica B.

Turandot, Zurich, April 2006: ‘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.’ Chantal Steiner, Vox spectatricis, April 2006

Otello, Barcelona, 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.’ Roberto Herrscher, Opera News, May 2006

Otello, Barcelona, February 2006: '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. His best weapon, over and above technique and style, is his stage presence. 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.' Javier Pérez Senz, El Pais, 11 Feb 2006

Le Villi, Vienna, October 2005: 'Puccini's score exerts its youthful passion. The composer of immortal operas already can be heard flexing his rapturous sonic muscles, and in the exciting, if raw, tenor of Jose Cura (Roberto), the gleaming soprano of Krassimira Stoyanova (Anna) and the solid baritone of Franz Grundheber (Guglielmo) the music is given its full due.' Ronald Rosenberg, Cleveland Plain Dealer, 5 November 2005

Le Villi, Vienna, October 2005: 'Add José Cura as a gloriously self-indulgent, golden-throated Roberto, Krassimira Stoyanova as a radiant, refined Anna, and the robustly direct Franz Grundheber as the father, and you are in for a great night.' Shirley Apthorp, Financial Times, 27 October 2005

Fanciulla del west, London, September 2005: '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, September 2005: '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.' Roger Parker, Opera Magazine, November 2005

Fanciulla del west, London, September 2005: 'Cura, meanwhile, adds smoldering Latin charisma and some thrilling top notes into the brew..' Warwick Thompson, Metro Café, September 2005

Fanciulla del west, London, September 2005: 'As for José Cura, the role of Dick Johnson, alias the bandit Ramerrez, 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.' David Blewitt, The Stage, 19 September 2005

Fanciulla del west, London, September 2005: 'So far as singing goes, no-one need worry much about the soloists in the current revival. José Cura ... was in top form on Saturday, easily fulfilling the early promise that he showed in the 1990's. He looked the part, sounded splendidly manly and simpatico throughout the whole thing and had all the notes necessary even for Act III's ' Che'lla mi creda libero..' His early training as a baritone still shows through though, now and again (there's a depth to his lower register which is decidely untenor-like occasionally) but if anything this simply added to his performance as Johnson: this was the kind of singing we go to Royal Opera to hear.' Bill Kenny, Seen and Heard, 1 October 2005

Fanciulla del west, London, September 2005: '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, being resoundingly butch.' Edward Seckerson, The Independent, 19 September 2005

Fanciulla del west, London, September 2005: 'As Johnson, José Cura has all the requisite swagger and testosterone-packed tone, and sings his arias in an effective, stand-and-deliver way..' Andrew Clements,Guardian Unlimited, 17 September 2005

Fanciulla del west, London, September 2005: 'José Cura gets Dick Johnson’s macho posturings just right while singing with plenty of dark tone – one of his finest performances.' John Allison, Sunday Telegraph, 18 September 2005

Fanciulla del west, London, September 2005: '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.' Fionna Maddocks, Evening Standard, 16 September 2005

Fanciulla del west, London, September 2005: '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.' Andrew Clark, Financial Times, 19 September 2005

Fanciulla del west, London, September 2005: '...The piratical José Cura, a sort of Errol Flynn with tonsils, is in his element as Johnson....' David Mellor, September 2005, Mail on Sunday

Otello, Munich, July 2005: '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.' Klaus Kalchschmid - Suddeutsche Zeitung, 4 July 2005 / translated by Monica

Otello, Munich, July 2005: For directors who might have been in the audience, it must have been a frustrating evening. Two singers who are totally absorbed in their roles, who put their hearts and souls into them, who have internalized their parts so believably and show such vocal brilliance on top of it – how can they possibly need a stage manual or director’s notes? To be sure, that kind of thing can only work with stars such as Barbara Frittoli and José Cura'...fans in the National Theatre went crazy, the ovation continuing even after the curtain was raised to show workers on stage taking apart the scaffolding. Cura’s voice has evidently changed considerably. While in the past he used to show off his 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.' Marleus Thiel - Munchen Merkur, 4 July 2005 / translated by Monica

Pagliacci, Berlin, May 2005: 'In Canio, José Cura also offered a prototype, that of a mafioso, but his performance, in contrast to the monolithic impression offered by Seiffert, was performed with remarkable expressiveness and with explosives high notes.' Jacques Fournier - Opéra, June 2005 / Translated by Sandrine

Pagliacci, Piacenza, May 2005: 'José Cura was the star here, a Canio de-luxe 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.' Walter Baldasso, La Discussion, May 2005 / Translated by Monica B

Pagliacci, Piacenza, May 2005: 'Tenor José Cura asserts himself totally in “Pagliacci”, and he is totally successful. Vocally dazzling, Cura presents the image of a Canio in love but tormented at the same time....An actor of extraordinary effectiveness, the Argentinean singer got a genuine ‘standing ovation’ at the end as confirmation of his superlative performance.' Corrado Ambiveri, La Cronaca, 23 May 2005 / Translated by Monica B

Samson et Dalila, New York City, April 2005: ‘… the Samson of the tenor José Cura, returning to the Met for the first time since his debut performances as Turiddu in "Cavalleria Rusticana" in 1999, 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.’ Anthony Tommasini, New York Times, April 2005

Pagliacci, Berlin, April 2005: "The second chapter opens at last: truly 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..." Klaus Geitel, Berliner Morgenpost, 25 April 2005

Stiffelio, Vienna, November 2004: 'Cura acts and sings--absolutely glorious and radiant in the upper notes--so passionately, he’s almost frightening.'

La Forza del Destino, Milan, February 1999: 'Mr. Cura...returned to give 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." Here, the wounded Alvaro, expecting to die, exacts his only friend's promise to consign to oblivion the secret that gnaws at his heart. Neither brother officer suspects that under their noms de guerre they are are hunter and quarry...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.' Matthew Gurewitsch, The New York Times, March 1999

Quote: ‘The beauty, the power and that special baritone quality of his timber make Cura the most important voice of nowadays.’ Mario Hamlet- Metz, L´Opera, February 1999

Samson et Dalila, CD: '[Cura's] theatrical and very musical. He has great physical strength and great emotional intensity. He simple cannot fail.' Sir Colin Davis, Conductor, Samson et Dalila (Opera News, October 1999)

Andrea Chénier, London March 1998: '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.' Michael Kennedy, Electronic Telegraph, 1998

Fedora, Chicago, 1994: ‘May God bless the mother that gave you birth.’ Exito, December 1994

Concert, Ekaterinburg, 2004: ‘The local population was charmed by the talented Argentine: all roads leading to the opera house were blocked before the beginning of the concert. ….There are some less-talented artists who sing more beautifully but not more brilliantly. His singing--a unique sound--is a means of communication, providing the means of expressing anxiety and sympathy. Cura approaches each role by means of his Argentinean temperament: he can be both bitter and soft, his voice reflecting all the nuances of the music. He is especially successful, in the opinion of the critics, in the operas written by Puccini, Verdi, and French composers. But the real glory of this singer is in the original interpretation of the characters he brings to life.’ Nakanune.ru, June 2004

Concert, 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 (the various) genres.' Geneva Concert Review

Concert, Sweden, July 2002 (Conducting): ‘His work as a conductor was brilliant, he had the orchestra eating out of his hand (…) Rachmaninov´s Second Symphony made up the second part of the concert. It was a joy to see José Cura conducting this piece…’ Boel Ferm, DD (Sweden), July 2002

Stiffelio, London, 1995: ‘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

Otello, ROH, 2001: ‘… None of these criticism can alter the fact that Cura is the Otello of today and tomorrow...’ Andrew Clark, Opera, July 2001

Pagliacci, Berlin, April 2005: "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"." Eleonore Büning, F.A.Z., 27 April 2005

Hérodiade, Vienna, September 2003: '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

Samson et Dalila, ROH, 2004: '[From Cura]...out of nowhere comes a burst of splendidly heroic singing or the fine etching of a sensitive musical point.' The Telegraph, 16 March 2004, Rupert Christiansen

Hérodiade, Vienna, September 2003: ‘If Cura didn’t convince everybody at the Arena di Verona as Alfredo Germont, in the role of Jean he seemed at ease, both vocally and in his depiction of the character’s psychology. His was an almost intimate interpretation, without shouting and exaltation, but with some beautiful mezzevoci instead in the second duet with Salomé. He outlined very well the conflict Jean finds himself confronted with between his faithfulness to God and his physical attraction toward the woman. The passaggio to the upper register is always the same, strangely produced, with no homogeneous timbre, but very uniquely personal. On stage he is perfectly at ease; I believe that he is one of those personalities in today’s opera scene who, cast in the appropriate parts, can reach a very high artistic level. […] Ovations for all the singers, in particular for Cura. […].' Operaclick, Riccardo Rocca

Samson et Dalila, Chicago, 2003/4: ‘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. . . .That intensity turned the Act II love scene into a titanic struggle worthy of both its Biblical authors and Saint-Saëns' gorgeously crafted score. Cura's Samson was acutely aware of his weakness for Dalila and the danger his liaison posed for his people. But the ultimately disastrous clash of his passion with the savvily deployed tears, caresses and curses of Borodina's irresistible Dalila was as riveting to watch as an impending train wreck.’ Chicago Tribune, 15 Dec 2003, Wynne Delacoma

Turandot, Verona, July 2003: ‘[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 / Valerio Cappelli, translated by Cicci

Concert, 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.’ Elis Kiss, Kathimerini, 26 July 2002

Concert, Moscow 2002: 'José Cura and Ljubovi Kazarnovskaja in a Dazzling Show: Cura sang with confidence. In his modulating tenor voice we heard both passion and a velvety roar. ... Cura sobbed, exulted, and sparkled his eyes.....The public that had come for this prestigious concert left quite pleased.' Elena Gubajdullina/Большой Кремлевский дворец, 30 октября

Quote: ‘[José Cura] doesn't hold back in life--it's what makes him so attractive on stage and off. He has an elastic voice that can curl up in a breathless whisper or unleash a dramatic roar, with a compelling animal presence and an intelligent, convincing acting ability. Throw into the mix his tousled, leonine good looks and a smolder to die for, and you've got the complete tenor.’ Classic FM, May 2002

Samson et Dalila, Barbican, Dec 2002: 'The love duet before Delilah betrays Samson is one of opera's purple patches, the tingle factor a high-voltage shock, particularly as performed here by the virile, piratical Argentine José Cura...The real star (of the evening) was Cura. He gets some stick from the British critics and it's true he is more of a dramatic than a lyric tenor...but he's an accomplished conductor as well as singer, and around his lynchpin role the rest of the cast were able to shine. The way his voice filled and thrilled the hall will be an abiding memory.' The Mail on Sunday, David Mellor

Otello, Chatelet, April 2001: 'Cura gave notice from his initial entrance that he is a serious contender for greatness in this role of roles. He sang his "Esultate" with disconcerting ease, but anyone expecting the chiseled, palatal sound of a Martinelli will have been disappointed by the darkened vowels and baritonal quality of Cura's voice. The love duet brought some nice phrasing from the tenor, who spectacularly took the lines "A questa tua preghiera 'Amen'risponda la celeste schiera" in one breath.' Stephen Mudge, Opera News, July 2001

Otello, Trieste, Aug 2001: ‘José Cura, who in addition to his recognized vocal skills is an excellent actor, made a literate Otello, without shouts or theatricalities, solidly constructed on a line of very regular song; the more difficult vocal passages flowed without hesitation or problems. Cura's Otello is, really, a great creation.’ Roger Alier, La Vanguardia Digital, (Trieste Otello, 5 August 2001)

Otello, Munich June 2000: 'The evening moved from one superb scène to the next, with Cura gaining in intensity until his passion totally engulfed the audience. He seems willing to sacrifice tonal beauty for dramatic fervency . . .his epileptic fit was as credible as his jealous outbursts, and his vocal mastery of the fiendish part was awe-inspiring.' Jeffrey A Leipsic, Opera News

Otello in Concert, Barbican Center, 1999: '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.' Warwick Thompson, Metro Live

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, he indeed follows as Otello in the footsteps of Domingo. And with 'fire-crackers' like the Pagliacci aria or Puccini's Nessun dorma, he threatened to upstage the Russian.” Pedro Obiera, Aachener-Zeitung, April 2005

Otello, Barcelona, February 2006: 'Cura 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.' Roger Alier, La Vangardia, 11 February 2006

World Cup Concert, Duisburg, July 05: " ... The Argentine star tenor José Cura earned the first real ovation. With the Duisburger Philhamonic as sympathetic accompanist, Cura touched the hearts of the audience with his classical delivery and contemporary sound." NRZ On-Line, July 2005

Andrea Chénier, Japan, June 2006: "The performance by José Cura as Andrea Chénier added a new aspect to the opera. Maddalena could not help devotedly loving the song of the masculine and revolutionary poet with a tender heart." Ongaku no tomo, June 2006

Pagliacci and Cavalleria rusticana, Verona, July 2006: "The savior of the country is José Cura, who replaced Vicenzo La Scola as a result of his unexpected withdrawal in the second part of the diptych and sang both roles. There were just two predecessors in 84 years who did this: Placido Domingo in 1977 and Lando Bartolini in 1993. But nobody has carried on his shoulders the performances of this verismo pair the way Cura, the Argentine gladiator, did." Corriere della Sera, July 2006

Stiffelio, Zurich 2004: “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, 2004

Samson et Dalila, CD, 1998: 'Somewhat limited in the scope of its story, 'Samson' is the only Saint-Saëns opera to have survived in the repertoire, as well as one of the few by any Frenchman. Indeed, its biblical subject matter retarded its arrival in Paris until 1892, 15 years after Liszt had recognized its considerable musical merits and had facilitated its world debut in Weimar. These merits include a well-shaped seduction scene between the two title characters in the second act, as well as moments of wrath for Dalila and agony for Samson outside of this encounter. Both Cura's and Borodina's voices impressively depict this spectrum of emotions. Cura has a muscular tenor matching his physique, strongest at the top of his range, and a good actor's depth of characterization, while Borodina displays a heady mix of richness and delicacy in her soprano. Lafont credibly depicts a bigoted, wrathful zealot, Lloyd a sweet basso veteran. Much of the melodically loveliest music seems to belong to the Philistine women, sung entrancingly here by the chorus, and Davis gets the greatest possible drama through careful pacing and highlighted dynamics.' CDConnection

Samson et Dalila, CD, 1998: 'José Cura is a world-class Samson. His powerfully masculine tenor, dark in timbre, ardent but never self-indulgent, has earned the young Argentinian a deserved reputation as a successor to Domingo. There is a thrill in his voice, a presence even on disc, which gives the uninitiated a sense of the committed, affecting impression he must make onstage. Cura sings with a genuine sense of discovery, and he shades his performance beautifully. The hushed desolation he projects as the blinded, enslaved Samson is a poignant surprise after the virile hero-lover....' Joanne Sydney Lessner, Opera News, February 1999

Samson et Dalila, CD, 1998: 'And the climax of "mon coeur s'ouvre a ta voix" is surely one of the steamiest scenes captured on disc, though its sexiness has nothing to do with buff physiques and everything to do with gutsy, compelling musicianship... from Cura, the half tints of an heroic voice breathless with longing, caressing Saint-Saëns sinuous vocal lines, surging in to an exultant B-flat that speaks as much of erotic rapture as it does of a tenor nailing his money note.' Marion Lignana Rosenberg, American Record Guide, Sep-Oct 1999

Samson et Dalila, CD, 1998: 'Where Samson is concerned Cura provides the truly heroic timbre and dramatic declamation his part requires, and he is as sensitive as perhaps any Samson on disc, especially in Act 3 where he sings Vois ma misere, and the asides while taunted by Delilah later on, in a mezza voce as if communing with himself. In Act 2 he responds to her false expressions of love with true passion in his tone.' Alan Blyth, Gramophone, January 1999

Samson et Dalila, CD, 1998: '...Cura is the real thing, one of the most thrilling voices of this or any other generation and an artist of immense promise. San Francisco Opera fans discovered him early, as Don Jose in "Carmen." Now here he is in another of French opera's towering roles, and his interpretation ranks him with the best Samsons on record....The tenor's phrasing boasts the sort of natural ease that was more common before World War II, with ideal breath support dramatically deployed and a way of shaping words that is nothing short of miraculous.' Octavio Roca, San Francisco Chronicle, December 1998

Samson et Dalila, CD, 1998: 'Cura is subtle and inward in the first two acts, and finds a different mode of expression altogether--by turns despairing and forcefully heroic -- for Act III (by then blinded, bound and betrayed).' Stephen Maddock, BBC Magazine, February 1999

Samson et Dalila, CD, 1998: 'José Cura is quite magnificent, justifying the belief of all those who see him as the white hope of the tenor scene. He not only sounds like a hero, strong and intense, he also sings with subtlety and the large dynamic range that one expects in this role. His responses to Dalila in the climatic love scene are sung with astonishing refinement and restraint, all the more effective in the context of the steam coming off Dalila's tone.' Michael Tanner, Classic CD, February 1999

Samson et Dalila, CD, 1998: 'The cast is exceptional. Jose Cura, the latest Puccini tenor to come along, gives an intense performance as Samson. Throughout Acts I and II, Cura compels listening, and easily communicates the Israelite hero's emotional turmoil, troubled by his love of God and country, and his feelings for Dalila. Cura's musicianship is first-rate, and he works hard at vocal nuance.' Robert Workmon, Journal Now

Samson et Dalila, CD, 1998: 'Samson et Dalila is having a renaissance, and not because it's great music. Though there are patches of seductive stuff, the opera is being pressed into service for the growing number of acclaimed mezzo-sopranos, since the role of Dalila is one of the few 19th-century star vehicles for that voice type. This recording boasts the vocally resplendent Russian mezzo Olga Borodina, but tenor Jose Cura is the dominant presence, heard here in his strongest operatic recording yet. While his voice has been known to go slack at lower volumes, he seems uniformly secure. His characterization also has all the necessary heroism, along with thoughtful, touching pianissimos after Samson loses his strength. ... [C]onductor Colin Davis, the real star of the set, gives this opera the same shimmering aura of his great Berlioz interpretations, as if this were a poor man's Les Troyens. Shimmer comes courtesy of the fine London Symphony Orchestra and the slightly-too-reverberant recording venue, Walthamstow Assembly Hall.' David Patrick Stearns

Samson et Dalila, CD, 1998: 'The complete Samson is thoroughly recommendable on all counts.' Marc Mandel, Andante

Samson et Dalila, CD, 1998: '...When I began this review, I still wasn't sure which version of "Samson" I'd favor. I have now convinced myself, even if I may not have convinced you: The Davis is my choice.' Miller, Fanfare

Samson et Dalila, CD, 1998: 'Davis is a strong conductor in this extremely well recorded version of the opera. Olga Borodina characterizes less than some singers in her role, but she has the most naturally appealing and beautiful voice of any Dalila in these recordings. José Cura sings a sensitive Samson, ample in power but with the voice shaded appropriately in the more intimate moments. More than most of his recordings, this Samson et Dalila demonstrates why he has attracted such a large opera house following.' Opera for libraries: a guide to core works, audio and video recordings ...Clyde T. McCants, 2003

Samson et Dalila, CD, 1998: ‘In this, his second complete recording of Saint-Saens’s Samson et Dalila, Sir Colin Davis has a stronger cast than the one he directed in his previous recording on Philips (now deleted). In fact, the two principals in Erato’s cast are outstanding, and this element is critical. Tenor José Cura, relatively new on records but certainly no novice, affirms the praise that greeted his debut recital. Cura appears to live every moment of the tital role, displaying the requisite heroic stance in Act 1, the gradual weakening and the inner torment of his second-scene duet with Dalila, and the penitence of the broken man in his final moments. In act 3 he uses mezza voce tastefully and effectively. In the earlier heroic utterances, although he commands a ringing forte, the dynamic transitions are not always smoothly handled, nor are his attacks models of directness. The totality, however, represents the work of a serious and committed artist.’ Opera Quarterly.2000; 16: 141-142