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Andrea Chénier, Barcelona, Sept 2007: José Cura possesses the density, the wounded gravity, and the aura of the poet, every part of which he qualifies with a restraint which multiples tenfold his vocal charm. While he has everything needed to move the audience--the beauty of his timbre, his radiant physical appearance, his projection--we regret to see him so underused by a director who does not realize how lucky he is [to have him]…… Carlos Alvarez is simply remarkable as Gérard in that he dominates the tessitura and imprecations—only with Cura is he able to come alive on the stage and make his character exist. - François Lesueur, Concert Classics, October 2007

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

Le Cid, Zurich, Jan 2008: ..Rodrigue’s famous prayer in Act three…turned into an event in Zurich. Certainly also thanks to tenor José Cura who surpassed himself, so moving and inspired was his interpretation of the part. Cura went through his first scene audibly marked (by the tragic event), but then he worked himself up into a state of extreme emotion-charged intensity; he found muted vocal shades, also allowed himself tearful outbursts and in spite of vocal extravagances adapted himself to the ensemble, which followed along on a level of highest quality. At the end, there was a standing ovation for Cura, the scarred hero, and his comrades-in-arms which lasted several minutes-- a rare occurrence in Zurich. Verena Naegele, St. Galler Tagblatt. 15 Jan 2008

Le Cid, Zurich, Jan 2008: Isabelle Kabatu and José Cura did not miss the chance to extract and deliver the essence, the perfume from out of the fullness of their ample voices: warm-toned mezza voce, melodious and song-like flow that blossomed out into something great. Cura had yet another lyrical high point to follow in the subsequent scene with “O souverain, o juge, o pere”. Herbert Buettiker, Der Landbote, 15 Jan 2008

Le Cid, Zurich, Jan 2008: José Cura was a thoroughly convincing young heroic tenor, impulsive and suffering, who invested his character with the full force of his radiant intensity and expressiveness. Cura’s father had died on Sunday, but the singer gave a performance nonetheless; he would not call off the premiere, traveling home to Argentina only yesterday. With the applause at the end, emotions rose to the top and feelings of solidarity became apparent which must have existed backstage and surely in the entire house all evening long. In the end, Cura took the top off the prompter’s box and expressed his gratitude there, too. For once, the dynamism, the vitality of this cooperative project that is Music Theater became apparent. Thomas Meyer, Tagesanzeiger. 14 Jan 2008

Andrea Chénier, Barcelona, Sept 2007: In the first cast, which we saw, José Cura [play the character] as physically slightly embarrassed to find himself in the salon of Madame de Coigny, and as a young man tempted first by an adventure before becoming an ardent lover. Vocally, his emission does not always have the necessary purity and clarity … [but] the court scene and the final act were honorably sung. - Maurice Salles, Forum Opéra, October 2007

Andrea Chénier, Barcelona, Sept 2007: José Cura creates a convincing Andre Chénier who draws applause at the end of the Act I “Improvviso.”.... A tremendous time thus awaits you if you intend to go to Barcelona. - Christophe Le Gall, Resmusica, October 2007

Andrea Chénier, Barcelona, Sept 2007: Jose Cura in the title role, eagerly awaited by the "aficionados" of the upper floors of the Liceu, was fairly and warmly acclaimed. - Jaime Estapà i Argemí, WebThea, October 2007

Andrea Chénier, Japan, June 2006: "Cura's charm fully blooms in Andrea Chenier." Mostry Classic, June 2006

Le Cid, Zurich, Jan 2008: José Cura, every inch a Latin hotspur, sang the part of Rodrigue with virile timbre. In the place of the elegance, flexibility and agility needed for the part he put impressive vocal power and stentorian treatment. But then, the tenor worked under two-fold emotional stress, having found out that day about the death of his father. That he took the stage nonetheless, was something the audience thanked him for with a standing ovation in empathy and he accepted, overcome by grief. Bruno Rauch, Schaffhauser Nachrichten, 15 Jan 2008

Otello DVD, Barcelona, February 2006: José Cura turns Otello into a raging animal. Stalking the stage like a wounded lion, he turns from conquering hero into a haunted figure tortured with jealousy. When Otello savagely cries for vengeance, Cura dominates the stage. When he collapses to the floor at the end of Act III, spasmodic sobs rack his body. His cries piece the plaintive English horn solo that opens the final act. R. Baxter, Opera News, June 2007

Samson et Dalila, London, Jan / Feb 1996: 'Due to the sterling efforts of José Cura, the young Argentinean who never seems to put a foot wrong. His Samson is full of soul; a commanding and vibrant tenor performance that captures the Hebrew leader's weaknesses with as much theatrical devotion as his god-like strengths....' Alexander Waugh, the Evening Standard, Jan 1996

Concert, Rijeka (Croatia), July 2006: 'Cura showed that he is as dangerous as a panther for his partner, because he sings impulsively, almost unpredictably, and acts gloriously, and it doesn’t matter if it is concert performance, for he fully controls and dominates on stage'...' Denis Derk, Vecernji list, July 2006

Pagliacci, Berlin, April 2005: 'In addition to the sensual, unmistakable color of his voice, the sheer power of his delivery, and his radiant top notes, Cura once again impressed with the absolute ease of his vocal performance. It is a shame that this gifted actor was not really challenged in this production. His first entrance alone – sporting a mafioso outfit, complete with a cigar – was “Hollywood”-like. […] Ovations for the singers in the end, for Seiffert and Cura in particular...' U. Ehrensberger, Das Opernglas, June 2005

Samson et Dalila, New York City, March 2005: ‘To his first Met Samson, Cura brought a portrayal in which spontaneous vocalism was tempered with earnest depth, both in the hero’s devout faith and in the conflict he suffered for his weakness for Dalila. Given the physique du role and a voice of heroic strength, the Argentinian tenor could encompass both rueful piety and volcanic resources of energy. With his direct manner and unruly, almost experimental technique, Cura is an exciting singer who breathes both life and thought into a character. He immersed himself in the role, putting to expressive use the arresting rough edges of his full-throated sound. In Act I, he acted and sang with restraint before rising to eloquence as he exhorted his people. Faced with Dalila, he wrestled his inner demons, emotional turmoil revving like a dramatic engine. In Act III, only sincerity and fervor saved him from hamming it up as he played out Samson’s despair in defeat. When he rose at the last moment to find himself again, the resurgence of his strength was palpable.’ John W. Freeman, Opera News, May 2005

Stiffelio, Zurich 2004: “As Stiffelio, tenor José Cura demonstrates the full range of nuances from pastoral depth to ardent virility not only by being near-perfect in appearance, but also in voice.” Tagblatt der Stadt Zürich, 2004

Manon Lescaut CD 1998: 'Puccini's four act verismo masterpiece Manon Lescaut (1893) was his first great success, but already his melodic gift and theatrical savvy was fully formed. Des Grieux (robust tenor) and Manon (lyric soprano) are the twin pillars of this tragic romance. Russian soprano Maria Guleghina is a superb artist, though perhaps a tad overpowering as the ingénue Manon. She has none of the usual Slavic diction problems and floats some of the loveliest phrases since Freni and Tebaldi in their prime. Argentinean tenor José Cura (Des Grieux) is touted as the next great Italianate tenor, with an excitingly powerful voice exuding the kind of Mediterranean virility (he's half-Lebanese) sadly lacking in many of today's canonized tenors. His singing is shamelessly melodramatic, full of sobs and growls, like some of the great Italian tenors of the past (Corelli, Del Monaco, et al.). Cura's voice, like Domingo's, is baritonal, which adds character to his middle and low ranges. His high notes are thrown with effort - but since they illustrate moments of emotional excess, strain is forgivable. On disc Cura has a lot to offer; on stage he's impossible to resist. In this recording, his entrance on the word "Amor" is viscerally stirring, and throughout the recording he sounds every inch the grand seigneur. The supporting cast is fine and the luscious La Scala chorus is always "on." Muti brings out the haunting chromaticism of the choruses and expertly points up the drama's tragic progress. The Scala audience is very quiet for this live recording made in June 1998.' Philip Anson, La Scena Musicale, May 2000

Manon Lescaut CD 1998: 'When Giacomo Puccini's 'Manon Lescaut' premiered at Turin's Teatro Regio in 1893, a new day dawned for Italian opera. The Turin audience called the composer out for 30 bows after the final curtain. No less a critic than George Bernard Shaw said, 'Puccini looks to me more like the heir of Verdi than any of his rivals. 'Manon Lescaut' is based upon an 18th-century novel by Abb Prvost. The novel had been set by such composers as Balfe, Auber and Massenet, but Puccini's opera became a basic repertoire work. This live recording from Teatro alla Scala, Milan features two of the exciting young voices in the world of opera, soprano Maria Guleghina and tenor José Cura. Conductor Riccardo Muti, a talented Verdian, proves to be a gifted Puccini interpreter. Muti balances the pathos and passion of Puccini's work and is always sensitive to the singers. Cura sings the famous aria 'Donna non vidi mai' with swelling ardor and warm, rich tone. Guleghina is a moving Manon, capturing the character's journey from coquetry to despair. She sings the show stopping aria 'Sola, perduta, abbadonata' with a desperate intensity that never stoops to bathos. This is a highly charged dramatic recording.' CDConnection

Manon Lescaut CD 1998: 'Cura, to be honest, is a gift from God. The international tenor scene looks a lot brighter with his arrival; with Roberto Alagna, he should wear the mantle formerly worn by Pavarotti, Domingo, and Carreras. He is intelligent, with a fantastically virile and emotive voice. He successfully portrays a man who is completely overcome by a self-destructive love for a woman who probably does not merit his passion. He is more heartbreaking than Manon in Acts Three and Four. Long may Cura sing. Although he was born in Argentina, he is a real "Italian" tenor.' Classical Net, 2000, Raymond Tuttle

Manon Lescaut CD 1998: 'The raison d'etre for the recording is probably the fame of new super-dude-tenor José Cura, and he does not disappoint. The voice is a hefty spinto, dark in color but very bright at the top--brighter, in fact, than I recall him ever sounding before on disc or when I heard him live last year. The sound itself is very attractive and Cura sings off the text well, shading his phrases from time to time with real concern. This is a set to return to often.' Robert Levine, ClassicsToday

Manon Lescaut CD 1998: 'This live performance from June 1998 at La Scala is clearly banking on the star power of José Cura, who indeed makes his memorable mark on des Grieux.... Cura uses his wonderfully dark, ardent tenor to embody des Grieux in all his helpless passion.' Thomas May, Editorial Review Amazon.com

Manon Lescaut CD 1998: 'It is ... this quality of vulnerability, of devastating emotional honesty, that sets Cura's Des Grieux apart...his soaring cries in Act IV, thrilling though they may be, transcend mere vocal beauty, conveying a desperate, almost animalistic anguish.' Marion Lignana Rosenberg, American Record Guide, Oct 1999

Manon Lescaut CD 1998: 'Few have seemed so ideally suited to the impulsive, obsessed Des Grieux as is José Cura, with his ardent, exciting singing.' Alan Blyth, The Daily Telegraph London, Apr 2000

Manon Lescaut CD 1998: 'José Cura [is] as exciting a Des Grieux as we're likely to hear anytime soon. He certainly has the vocal goods, with a hot-coals burn, but he also perfectly balances youthful ardor with elegance and assurance..' Scott Cantrell, Dallas Morning News, May 30, 2000

Manon Lescaut CD 1998: 'This live performance from June 1998 at La Scala is clearly banking on the star power of José Cura, who indeed makes his memorable mark on des Grieux. It's exactly the kind of role to absorb Cura's drawbacks (his moments of insecurity and odd phrasings) and let his strengths shine, and Cura uses his wonderfully dark, ardent tenor to embody des Grieux in all his helpless passion. As the title heroine, Maria Guleghina can be exasperatingly supercharged one moment, beguiling the next. She's not all that convincing as the character's frantic mood shifts, but is emotionally gripping in her bleak final monologue. Riccardo Muti is less uptight than usual in the pit and throws welcome light on the score's notable symphonic depth, bringing a sense of coherency to Puccini's not-quite-perfected vision. Some moments of frazzled string ensemble aside, the band plays beautifully.' Thomas May, AmazonUK

Manon Lescaut CD 1998: 'José Cura makes a virile, ardent Count des Grieux, singing with strength and delicacy. In the deportation scene of Act III, the Argentine tenor characterizes with alarming dramatic intensity, but his refined vocalism and heroic tone carry him through.' Lawrence A. Johnson, Sun Sentinel, November 05, 2000

Manon Lescaut CD 1998: ‘[T]his is surely one of the finest opera recordings of the year. Everything works well here: Muti imparts an atmosphere of drama with a fine sense for tempos and orchestral balances, and he coaxes some excellent performances from his singers. …. José Cura is both vocally and dramatically convincing. The sound DG provides is excellent, despite its live-performance origins (recorded June 1998, at the Teatro alla Scala, Milan). This is a fine recording then--there are some other excellent recordings, though in the digital era I'm not sure this one can be bettered. This new DG issue can stand with the best, and it features full libretto (Italian/English) and intelligent notes.’ Robert Cummings, Classical Net Review, 2000

Manon Lescaut CD 1998: 'As Puccini chose to differentiate his Manon from Massenet's opera by, among other things, eliminating any domestic scene for the lovers, the burden of creating a believable Des Grieux/Manon relationship falls to the second half of the opera. Here the new performance succeeds quite well. The voice begins dryly in Act I -- one of the potential downsides of capturing a live show -- yet Cura strives to create a living character, underlines text and occasionally really lets go and sings, as in the second act's "Ah! Manon, mi tradisce il tuo folle pensier" or Des Grieux's prayer, "O Dio, a cui fanciullo" in Act IV. Unfortunately, a lack of sustained legato intensity robs him of the build he aims for in Act III's desperate "Guardate, pazzo son." Conductor Riccardo Muti, with the forces of La Scala playing magnificently, creates a feast for the ears. Tempos can be crisp but are never rushed. And there is plenty of sweep, as well as room for expressive singing when called for. Recorded sound is excellent.' Opera News, Ira Siff, August 2000

Manon Lescaut DVD 2005: 'This is a flat our, heavy-breathing production, directed by Italian film and stage diva Liliana Cavani. With Maria Guleghina (Manon) and José Cura (des Grieux) she has two fine actors, pretty as movie stars, who pour on the sex. And, yes, they can sing. I had to keep fanning myself....' Good Opera on DVD, Stephanie von Buchau, Oakland Tribune / Inside Bay Area

Manon Lescaut DVD 2005: 'Guleghina and Cura are visually excellent and manage to convey the emotional aspects of the text dramatically. The production is excellent, thankfully conventional, and the costumes and sets are appropriate. Vocally Guleghina is more of a lyrico spinto rather than the pure lyric that is more appropriate for the role, yet she does manage to lighten the voice when required. Cura is both visually and vocally first rate. The supporting roles are well cast; Lucio Gallo makes a youthful strongly characterized Lescaut, and Luigi Roni a first class Geronte... I am unaware of any competing DVD version of this opera, and—principally because of the excellent visual quality and because the principal singers are fine—I find it is worth investigation by Puccini admirers. Subtitles are available; the sound and picture are both excellent.' Bob Rose, Fanfare

Manon Lescaut DVD 2005: ‘Taped on the stage of La Scala in June 1998, this Manon Lescaut represents old-fashioned theatre at its best. Very few companies – the Met comes to mind – have the serious money needed for such opulent, realistic productions. The pairing of Maria Guleghina (Manon Lescaut) and Jose Cura (Des Grieux) is felicitous, catching both in excellent vocal estate. There is good chemistry between them, and sparks fly in Acts 3 and 4. Highly recommended.’ Joseph K So, La Scena Muscale, Spring 2006

Manon Lescaut DVD 2005: 'Poised to inherit the mantle and the juicy operatic roles of the Three Tenors, José Cura has been subject to intense scrutiny. Does he have the vocal goods to match the pretty face and dashing figure? This live recording of Puccini's Manon Lescaut, recorded at La Scala in 1998, offers promising evidence. As the young student Des Grieux, Cura's presence is charismatic from the start, blossoming into a passionate rendition of the famous Act I tenor aria, "Donna non vidi mai." It's been noted that Cura's voice leans toward a darker, almost baritonal range, but while his top notes don't ring out á la Pavarotti, they're resonant enough to convince you that his future as an audience-pleasing heartthrob is both secure and deserved.....' Scott Paulin, Editorial Review, Barnes and Nobles

Manon Lescaut DVD 2005: 'This is a high-powered production from La Scala with Riccardo Muti conducting a star-studded cast (Maria Guleghina in the title role, supported by José Cura and Lucio Gallo.) It is predictably excellent. Puccini's libretto is not as logically structured as Massenet's, but it is intensely impassioned, and Muti and his cast find this intensity very much to their taste.' Classical Music Reviews/ Naxos, Joseph McLellan

Manon Lescaut DVD 2005: 'This particular representation of the opera has just about everything going for it. The production, filmed at La Scala in 1998, is a lavish period staging with costumes as beautiful as museum pieces, and sets which bring the story vividly to life. But even more important are the leads. One could hardly imagine a more handsome Des Grieux than José Cura or a more beautiful Manon that Maria Guleghina. They are picture-book leads. Neither gives a cookie-cutter performance, and these are not cookie-cutter voices. Cura’s tenor sounds more like a baritone with (great) high notes, and his vocal mannerisms—most which don’t bother me—are very much in evidence. The DVD’s presentation is stylish and useful. I have no doubt that when Puccini sat down at his desk to write Manon Lescaut and pictured the scenes of the opera, he must have imagined them very much like this.' Opera Today, Eric D. Anderson, 30 October 2005

Manon Lescaut DVD: This is a flat-out, heavy-breathing production, directed by Italian film- and-stage diva Liliana Cavani. With Maria Guleghina (Manon) and Jose Cura (des Grieux), she has two fine actors, pretty as movie stars, who pour on the sex. And, yes, they can sing. I had to keep fanning myself. ....Stephanie von Buchau, Oakland Tribune

Pagliacci, Berlin, April 2005: "As the jealous clown Canio, Cura delivers his top notes with lingering relish, moves suavely and glosses over details in the score. He is scorchingly intense in the dressing-room aria, and a smoldering presence the rest of the time." Bloomberg, 26 April 2005

Andrea Chénier, London February 1998: 'The Argentinian José Cura is indeed the "fourth tenor", as his previous appearances with the company -Corsaro, Samson et Dalila - have already indicated. Tirelessly robust tone, heroic delivery, even plangent lyricism in the 30-odd seconds where it is required-all are on tap. He also has one of two traditional, rather endearing tenorial mannerisms, like tying one phrase to the next to show off his breath control, and approaching top notes via a springboard about a third down, then hitting the target with ejaculatory triumph. The audience went wild.' Rodney Milnes, The Times

Tosca, London 1996: 'José Cura, the Argentinian tenor, has been taking on new roles and new composers for the ROH at an exceptional rate. Puccini's Cavaradossi is the latest and he sings the painter with strong, burnished tones now expected of him.... Cura manages very well the gentle phrases of memories and hopes in Act III. But the victory cries of the middle act suggest that the heroic repertory will be his forte, in all senses of the word.' John Higgins, The Times

Nabucco, Paris, 1995: ‘... the fascination arrives with the Argentinean José Cura, a Latin-burning Ismaele, this brilliant tenor, easy and natural has a golden career ahead of him.’ Tribune de Genève, September 1995

Concert, Henley, July 2004: ‘I have no inhibitions, though, about Friday’s entertainment with the colourful Argentinian tenor José Cura. He looks like a pirate and rightly concluded this was an evening for swashbuckling, not finesse. His account of some popular arias was both lazy and wayward, and his contact with the orchestra occasional and seemingly accidental. But he sang with vigour, wiggled his bottom as he conducted and even played the guitar. The entire audience was seduced by his raffish charms.’ Daily Mail, 18 July 2004, David Mellor

Samson et Dalila, ROH, 2004: 'The Argentinian José Cura...now ranks as one of the world's top Samsons. . . .Large and muscular, he looks ready to topple any old temple and moves with the sass of one who knows as much…his remorseful Act III aria, when shorn and eyeless in Gaza he turns the mill, had real force.' The Evening Standard, 15 March 2004, Fionna Maddocks

Cavalleria Rusticana, Hamburg, 2003 (Conductor): ‘…he inspired the orchestra to give a voluptuous, sensuous performance that at times had an almost Latin flair and spirit.’ Hamburger Abendblatt, February 2003

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, 2003

Samson et Dalila, Chicago, 2003/4: ‘José Cura as Samson is effective from the dramatic point of view: as a warrior and a prophet he has his entrance in a modest way and then incites his people with fervour and dignity (what dignity permitted him by the short tunic he dresses in during all three acts). From the dramatic viewpoint, his highlight is not the intimate second act, where Olga Borodina as Dalila dominates, but the third act, where the tragic and pathetic vein of this singer finds a vent in the lament "Vois ma misère” and then in the pressing rise towards the final invocation to God and the destruction of the temple.’ L’Opera, Marta Tonegutti, Translated by Cicci

Stiffelio, Zurich, 2004: ‘In this Zurich production [of Stiffelio], nobody –with one exception—found any really workable solutions to the challenges. The exception? His name is José Cura. The Argentine tenor was the only one who really breathed life into his character; the only one who was capable of creating intensity and credibility, of portraying a real human being with real conflicts.’ Zürichsee Zeitung, 2004

Turandot, Verona, July 2003: ‘José Cura... sings an impeccable Calaf and in 'Nessun dorma' a high B which others can only dream of.’ G. Korentschnig, Kurier, June 23, 2003, p. 30 (translated by Martina)

Il Trovatore, London, April/May 2002: ‘Cura's Manrico was an outstanding achievement, technically unimpeachable (he crowned 'Di quella pira' with a couple of formidable top Cs) and often elegant. Taking all four phrases of 'Riposa, o madre' in the final scene in one breath not once but twice is going beyond the call of tenorial duty. Such diligence helped him create a character of alternate bravado and lassitude, a romantic hero doomed from the start to failure and ignominious death.’ George Hall, Opera News Online, August 2002

Pagliacci, Vienna, Jan 2002: '[...] and Jose Cura, as the passionately jealous Canio who ultimately runs amok, also offered a gripping portrait, whose believable intensity the audience couldn't escape.' Weiner Zeitung, 25 Jan 2002,translated by Martina

Samson et Dalila, Barbican, Dec 2002: 'But the real star was Cura. He gets some stick from British critics ... but he’s an accomplished conductor as well as a 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, Dec 2002

Samson et Dalila, Barbican, Dec 2002: 'Samson is a favourite role of Latin tenors, and José Cura has already made it something of his own... [H]is was a passionate ...account of the role.' The Daily Telegraph, Dec 2002

Concert, Warsaw, November 2001: ‘After the first collaborative performance of José Cura and Sinfonia Varsovia at the National Philharmonic, the skeptics must become silent. The temperament and charisma of the Argentine tenor, combined with the ensemble’s perfection, may bring many interesting artistic results.’ Wprost, November 2001

Otello, London, April 2001: 'It is necessary to do justice to Cura by saying that . . .he is one of the few unquestionable Otellos of the present, and had more stirring moments than not.' El Mundo, 4/27/2001, Maria Rosa Capell

Otello, Trieste, Aug 5 2001: 'The Teatro Verdi took the occasion to show us the very best it can do with an incomparable performance of Otello on a very hot summer night. …Cura returned last night in the full glory of his artistic and vocal efficiency, which let him show us an Otello that was not only moving but tormented by his agitated expressive intentions. Perfect on the acting plane, Cura moved us with his beautiful, suave voice...’ Il Giornale della Musica

Otello,Washington March 2000: 'Cura has the stamina, the acting ability and the voice to meet these challenges. His Otello is multidimensional--both a heartbroken wimp and a maniac. When Desdemona betrays him, he writhes like a crushed worm. But when he glares at his enemies, bellowing and spitting, you can almost smell the gamey aroma of a gladiatorial arena.' Philip Anson, The Globe and Mail

Quote: ‘The epitome of the sacred monster at the moment is surely the Argentine tenor José Cura…’ Mathew Gurewitsch, New York Times, May, 2000

Quote: 'Cura embodies the new face of opera. As a performer, he comes as a 'whole package' -- exceptional voice, smoldering good looks and a captivating acting ability ... he also sizzles with charisma.' Opera Now

Otello, Barbican May 1999: 'The tenor Jose Cura left no doubt that it was his show, with a swank and swagger off the Richter scale. But then he does have an amazing platform presence. It's early in his career for him to be tackling so heavy a role as Otello (something most tenors of his type hold back for later), but it was mostly there. What he couldn't do, he faked with vigour; and by Act II, when he'd stopped crooning and had acquired more definition, he was stunning.' The Independent, May 30, 1999

Anhelo, December 1998: 'The Puccini recital did not prepare me for the wonders of "Anhelo," which is one of the loveliest recital discs I have ever heard. What a thrill to hear a heroic voice like Mr. Cura's scaled down to nimble, velvety washes of sound--and an artist so acutely sensitive to poetry giving voice to texts by Pablo Neruda and other masters of the noble Spanish tongue.... Mr. Cura sings this 'popular' and 'semi-popular' without a hint of condescension or preciousness, creating the illusion of conversing with the listener while demonstrating a mastery of phrasing, dynamics, color and so on that is the stuff of supreme vocal art.' Marion Lignana Rosenberg

Concert, England, 1997: 'Appropriately, he took over Andrea Chénier's Improvviso, and in Giordano's opera provided the most stirring singing of the evening. Cura, bold in his vocal attack and ready to flood the music with emotion, is a natural in this part. … He was also the star, carrying the personality and the volume to take on the wastes of the Albert Hall. He got proceedings off to a fine start with Cielo e mar from Giocondo and closed them in equally ringing style with Tu qui, Santuzza from Cavalleria.’ John Higgins, Opera Galla, 1997

Samson et Dalila, Turin, 1997: ‘The Argentinian tenor gives to Samson all the strength of his magnetic presence, all the energy of a vocal emission of unseen arrogance. Cura confirms himself to be the only possibly imaginable performer for Samson since Jon Vickers’s retirement.’ Opera International, 1997, Sergio Sagalini

Puccini Spectacular, Sydney and Melbourne, May 1996: ‘We were given a lot of Puccini and it was a lot of work for one tenor. By popular acclaim the night belonged to José Cura, the audience roaring its approval of the personable young tenor at the curtain calls. He is highly impressive in straight-from-the-shoulder passages. The powerful timbre and vigorous delivery in such sections tends to outshine his equally effective interpretations of E lucevan le stelle and ardent, non-hysterical Nessun Dorma.’ The Age, May 1996

Fedora, London, 1995: ‘[Cura] is a superb actor, a convincing-looking hero and an intelligent, spontaneous and gifted musician…I have no doubt that Cura, with his unusually distinctive sound and equally abundant talent, will also rise to the dreaded super-tenor status as special hero by appointment to the cognoscenti.’ Evening Standard, Nov 1995

Ballo in Piacenza: 'José Cura is a singer, he knows the singers’ demands and he knows how to follow the singers. (...) The audience can be sure of the high quality of José's performance with the Orchestra Toscanini: he has great natural qualities and a deep knowledge of music.' Vincenzo La Scola, asked which of his Ballo colleagues he esteemed most (Liberta, Feb 04 / Translated by Cicci)

Concert, Berlin, July 2004: ‘With his dark timbre, Cura was altogether the tenor pop star; behind her music stand, Monserrat Caballé lifted her soprano into treble spheres. In the end, the little Spanish “grande dame” among international coloratura sopranos and the mighty Argentinean star tenor (meanwhile also a conductor) were lying in each other’s arms. By then, the adoring crowd had already been lying at their feet for a long time--nothing unexpected here.’ Berlin Morgenpost, July 2004, Elmar Krekeler / translated by Monica B.

Samson et Dalila, ROH, 2004: ‘José Cura is a very strong Samson: his dark tenor is in good shape with a ringing power, and he is an actor of fearless physicality.’ The Times, 15 March 2004

Il Trovatore - DVD: 'Elijah Moshinsky's production is surely as lively and moving as Verdi's intricate masterpiece deserves.... José Cura sizzles....This new Trovatore DVD is a reminder that not every golden age happened long ago.' San Francisco Chronicle, 2003

Samson et Dalila, Chicago, 2003/4: ‘Cura sang with powerful dark tones, impressing the audience with his stagecraft and athletic physique. In his interpretation he showed that he was aware of his weakness for Dalila, but totally unable to resist. He had not been heard at the Lyric Opera in nine years and he received a warm welcome.’ Opera Japanica/Maria Nockin, Submitted by Marion

Otello, Zurich, 2002: ‘[...] José Cura was a straightforward Moor, communicating true feelings, stifling, and vocally first-rate as I had never heard him before. He didn't save himself, sang with even voice throughout the evening, and knew how to use ringing top notes to wonderful effect for the climaxes. ... If only the Argentinian were always so concentrated and serious in his work, there wouldn't be as many discussions about him. [...].’ Gerhard Ottinger,Der Neue Merker (Aug/Sep 2002, p.69), translated by Martina

Pagliacci, Vienna, Jan 2002: 'In the role of Canio, Cura put emphasis not on superficial brilliance but on a subtle and sophisticate interpretation of the title role, and in that he offered an exemplary model of vocal and dramatic excellence.' Die Presse, 25 Jan 2002,translated by Martina

Samson et Dalila, Barbican, Dec 2002: 'A palpable throb pulsed through the audience around me ... each time Cura slid on to the stage. ..Such was the chemistry between the two [leads] that, by the arrival of 'Mon coeur', one of the sexiest love songs in all opera, they could not resist sidling closer to each other, joining hands, then arms, then... well, one feared where Cura's fingers might wander next as he gently crooned: 'Da-li-la' into her elegantly receptive ear.' The Observer, Dec 2002

Samson et Dalila, Barbican, Dec 2002: 'Now the role is taken by the most carnal of tenors, José Cura, who plays Samson as a feral creature, barely in control of his emotions. . . You have a real treat in store.' (Four out of Five Stars) The Guardian, Dec 2002

Otello, Nice, June 2001: 'José Cura, who turned early in his career to Otello, refuted many skeptics; his voice has not suffered and the virility of his singing is captivating... It's most remarkable how, without any apparent effort, this singer can cope with difficult, strength-taking passages. He's is not like an opera-singer on the stage but an actor who accidentally expresses sounds as singing.' Opernglas review of the Otello from Nice, 9/2001

Tosca, Japan, 2002: ‘Brutally questioned, bleeding, languishing in jail, dragged to the shooting-ground, "Beau" Cura rendered his role with the utmost refinement, both vocally and in his acting, thus reaping a most deserved acclaim -- to say nothing of the repeated "bravos" at such climactic moments as "E lucean le stelle," with its sobbing finale...the most enjoyable Tosca to be heard or seen during the last decade.’ Carlo Vitali, Classics Today, June 2002

Pagliacci, Berlin, April 2005: "Cura breaks the rule whereby all those deceived, cheated, victimized must love Pasta Alla Norma. ... There is something about his vocal organ that surpasses, transcends the average, run-of-the-mill power voice. The way he takes the passaggio from middle to upper register in his desperation aria is as hard and fast as Schumacher stepping on the gas pedal of his red Ferrari in a curve. Cura would be the singer for a really big role. His portrayal of the jealous Canio is intimation of that. We witness this world-class tenor disdainfully making short shrift of the text of his role." Klaus Georg Koch, Berlin Zeitung, 25 April 2005

Tosca, Metropolitan Opera, October 2006: "Making his debut in the role of Cavaradossi was Argentinian tenor Jose Cura. When I heard him two years ago as Samson in the Saint-Saens, I was disturbed by his bellowing, but this evening he was actually quite good — he maintained a smooth lyrical line while intoning at an impressively high volume level. And he was a natural partner for Ms. Guleghina, who is also a champion projector. Their "Non la sospiri la nostra casetta" has to be one of the loudest ever, but neither sacrificed any intonation for this house-filling sound. Mr. Cura's "E lucevan le stelle," his character's last big number and one of Puccini's most poignant compositions, was really very moving." New York Sun, Fred Kirshnit, 30 Oct 2006

Forza del destino, Marseille, 1998: 'The big winner of the night in Forza of the Destino was the Argentine tenor José Cura, a young Alvaro of brilliant and valiant voice, who did not hesitate to sing the duet stretched out 'Solenne in questora' stretched out on his back. Marseille's Opera was also witness to his admirable version of 'O tu che in seno agli angeli,' which earned him a great ovation.' Roland de Candé, Opera, July 1998

Fanciulla del west, London, September 2005: ‘Jose Cura cuts a dash as the bandit Ramirez, with handsome appearance and burnished tone.’ Camden New Journal, Helen Lawrence, 23 September 2005

Fanciulla del west, London, September 2005: ‘As the bandit Dick Johnson/Ramirez Jose Cura might not have looked sufficiently dangerous, Gary Cooper he ain't, but his voice was another matter; for the entire evening he produced a gorgeous stream of sound, truly sexy.’ Robert Hugill, Classical Music Blog, 26 September 2005

Fanciulla del west, London, September 2005: ‘José Cura arrived and the atmosphere changed completely, his clarion voice well placed, his baritonal register making me wonder if someday he would sing Tristan… his high notes were clean and centered…Cura is also a sensible and intelligent actor who with a look can change the atmosphere from threat to protection, from frustration and affection to love, a great creation….’ Operayre, Eduardo Benarroch, 15 September 2005

Anhelo, CD, 1998: 'With this recital, Cura underscores impressively that he is no doubt the most accomplished musician among his tenor colleagues at present. Whoever is willing and able to come to terms with this music and its texts will surely be enthusiastic about this CD.' Opernglas

Anhelo, CD, 1998: 'With a mature range of coloring (timbre) and power at the core, the Argentinean José Cura stands at the threshold to world fame. Cura makes his own, tasteful arrangements (and compositions!) exercises in understatement- and lets the beauty of his voice take effect.' W. C. Fink, Scala Nr.5/98

Anhelo, CD, 1998: 'José Cura is unique among singers of international standing in that he composes, arranges and conducts, and was doing so long before his name became famous. ANHELO shows him assuming all these roles in a program of Argentine song which focuses on lyrics of nostalgia and longing. It is obviously an undertaking close to his heart, for it is carefully organized and rendered with great tenderness and passion. Many of the composers represented are not well known outside Argentina, but that may change. The songs of Carlos Guastavino, of which there are eight here, possess a distinctive bittersweetness which is truly haunting. There is also one song by Argentina's best known avant-garde composer, Alberto Ginastera, as well as a piano arrangement of tango master Astor Piazzolla's 'Adios Nonino.' This is far from your usual superstar tenor's crossover project and is, in fact, a most valuable addition to the catalog.' CDConnection

Anhelo, CD, 1998: 'Anhelo on the Erato label is a wonderful collection of traditional folk songs performed by the Argentinean tenor, José Cura. Not the usual cross-over recording that is quite prevalent these days, this was a major under taking where Cura not only conducts and provides the arrangements for the orchestration, he also composed two of the songs and the opening orchestral introduction. Joined by guitarist, Ernesto Bitetti and pianist, Eduardo Delgado, both known from childhood, Cura's voice captures the beauty of these songs usually with very sparse arrangements, highlighting such instruments as recorders, clarinet and bassoon. These are songs that deserve to be more widely known. Cura's love for this music is evident and one cannot help but be caught up with the beauty of the music on this disc.' Peter Miles/Japan Traveller Magazine

Anhelo, CD, 1998: ' ..Almost all of the pieces forming the sequence are yearningly melancholy, with the tone set by the opening instrumental piece by Cura himself....Though the recording acoustic and close balance do not allow the full bloom of Cura's fine tenor to emerge, these are warmly expressive performances, not just from him but from his associates too...' Gramophone Magazine

Anhelo, CD, 1998: 'Though Anhelo has attracted less attention than Cura's debut disc of Puccini arias, this hypnotic recording is one of the finest vocal recitals of recent years. .. Cura scales down his beefy voice to a lithe, translucent instrument, delving with the soul of a poet into texts by Pablo Neruda and other great writers.' Marion Lignana Rosenberg, American Record Guide, Sep-Oct 1999

Anhelo, CD, 1998: 'José Cura's first crossover disc, Anhelo, is quite the exception. The tenor not only sings but has orchestrated and conducted several numbers as well, which is only the most tangible evidence of the thought and feeling he's put into this. The emphasis is on ballads--which is only fitting for an album whose title intense, suffocating desire--though there are also folk-like songs and instrumental cuts, one of which Cura composed himself in a neo-Puccinian style. Some of the songs have orchestrations, but the instrumentation is mostly spare: often acoustic guitar or piano and, in one cut, only solo voice. 'Clearly, this disc didn't just arise out of a career strategy but as a sincere desire to communicate. And it does--' David Patrick Stearns, Amazon Review

Anhelo, CD, 1998: 'This is a classy production; the wistful, whimsical lyrics of these featherlight songs are by the greatest of Spanish-language poets-Neruda, Alberti, Quevedo-the instrumentals are crisp and clean and the original compositions, a three-minute instrumental prelude and settings of two of Neruda's Sonetos de Amor y Muerte catch the mood of tender melancholy to perfection.' Arminta Wallace, The Irish Times, Aug 1998

Stiffelio, ROH, April 2007: 'In the title role, José Cura, the Argentinian tenor, is surprisingly convincing. Better known in the roles of handsome seducers himself (he last appeared at Covent Garden as the outlaw Dick Johnson) he here conveys both the gravitas and despair of a pastor whose world is falling apart. Even the way in which he slowly and repeatedly takes his spectacles on and off, shows his pain – they seem heavy as lead. Cura’s immediately recognisable, burnished tenor is made for this role and he shines in it.' The Baptist Times, 26 April 2007

Last Updated: Friday, January 08, 2010