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Pagliacci and Cavalleria rusticana, Verona, July 2006: "On the vocal side, the performance was dominated by José Cura, who was initially scheduled only for Pagliacci, but then stepped in for Vincenzo La Scola, who was ill, in Cavalleria as well. Cura has what one can call an 'arena-voice': sizable, clearly distinguishable; he has sung many times on this extra-large stage and knows how to do it most convincingly...."  Opera Critic

Fedora, London, 1995:  'He has a vivid stage presence and shrewd dramatic intelligence which he used to add convincing dignity and warmth to an essentially two-dimensional character.  He also has a voice of real distinction - - dry, slightly metallic, not always refined, but ardent and authentically heroic, with ringing top notes...' Ian Brunskill, Nov 1995

Samson, London, Jan/Feb 1996:  'At full throttle the sound is thrilling and this big, handsome man certainly brings a Victor Mature dimension to this portrayal of Samson, flaunting as much lower limb as the dancers in the Bacchanale.  (And not all of it that low--I have not seen so much tenor rump on the Convent Garden stage since Peter Hoffmann accicently exposed himself in Parsifal.)' Rodney Milnes, The Times, Jan 1996

Otello, Barcelona, February 2006:  ' José Cura can be a real ham--and he is--but nowadays, there is simply no one else who knows how to make so much out of the Venetian Moor. He was stunning in an impressive ‘Esultate!’. He glossed over a few notes in the love duet in order to make it more accessible, but he was irreproachable in the duets with Iago and Desdemona as well as in his two great solo scenes. It is a pleasure to be able to listen to an Otello like that, one who doesn’t make the spectator suffer in the least, when there have been outstanding Otellos who have had difficulties in the second and third acts.' Gonzalo Alonso, La Razón, February 2006

Il corsaro, Barcelona, February 2005:  "The Verdi master Carlo Bergonzi found shattered gold in the role based of elegance, sense of phrasing and control of the Verdi style.  Cura opts for a different approach, one more direct and visceral, one taking advantage of the strength of his voice with its resounding center, its dark color, its attractiveness, its great dramatic appeal. A straightforward Corrado, thrilling without filigrees, greatly applauded by the public." Javier Pérez Senz, Il Pais, February 2005 

Stiffelio, Zurich 2004:  "This role, in which he (José Cura) made his debut at Covent Garden and attracted attention ten years ago, does not come across as unoriginal or exaggerated in any way. Cura is rather looking to also emphasize the finer points, i.e. an inner drama—an intelligent portrayal, even if he can hardly enthuse with this on a superficial level.”  TagesAnzeiger, 2004

Cologne Concert with Anna Netrebko, April 2005:  “Cura threw himself into his roles; he hurled himself at the hearts of his audience. He might just have been the inventor of the large screen so that not a single glance gets sent out in vain. He has preserved for himself the heart of a child, he told an interviewer, and because of that, he slips into his characters totally and completely.

Cura's voice explodes like a volcano. If this, his indisputably God-given gift, which he uses lavishly, were ever to give out, Cura has the ability to conduct, compose, or become an opera house director. The man possesses many talents.”   Kölnische Rundschau,  April 2005

Cavalleria Rusticana, New York City, Sept 1999:  'Cura, stocky and handsome at 37, presents a picture of swaggering masculinity and commands a voice to match--a clear, focused tenor that carries well, rings nicely at the top and generates considerable emotional heat.  It is not overwhelming in sheer volume, but his Turiddu stood up to the weight of his powerhouse co-star, soprano Dolora Zajick, and even when he was required to dash about the stage during a very busy drinking song, he maintained his stamina.  Attractive tenors don't come along every day, and Cura promises to be around for a while.'   Shirley Fleming, New York Post Online

Samson et Dalila, TWO Nov 1998:  'There can be no denying that this is a young singer with extraordinary gifts--combining a full, ringing and powerful tenor voice (complete with marked baritonal shadings and just a hint of the trumpet) with a commanding and athletic stage presence.... the aria 'Vois ma misere' was sufficient to prove that Cura's singing is more than merely loud and hard and that he is capable of some ravishing legato phrasing.’  The Washington Post, Tim Page - TWO / 1998

Samson et Dalila, November 1997: 'One cannot deny that the Argentine tenor gives an equally handsome and impressive vocal delivery hallmarked by mature expressivity.  The color of the voice is that already familiar to us, dark and burnished, but at the same time  and when needed rounded and soft . .. he is bravissimo in the third act, singing with great participation through very refined interpretation, all of which conveys the physical and spiritual suffering of Samson.'    L'Opera

Norma, Los Angeles, September 1996:  'As for José Cura, the Argentine tenor singing the less important role of Pollione, the Roman proconsul who spurns Norma for Adalgisa, word of him him has traveled quickly.  A magnificent signer, he is now the undisputed star of the show. ..'   Mark Swed, The Los Angeles Times

Samson et Dalila, ROH, 2004:  ‘Cura, unsurprisingly, reacts to her as one spellbound, tracking her every move with his huge eyes, fondling her body at every opportunity. His Samson is at once a sensualist and a fanatic, a man in whom desire and spiritual conviction burn with equal, violent intensity. His voice is in better shape than when he sang the role in concert at the Barbican two years ago. There are still moments of rawness in the tone under pressure, though he responds to Graves's seductions with honeyed whispers and captures Samson's mental and physical agony with frightening vividness in the closing scenes.’  The Guardian, 15 March 2004, Tim Ashley

Hérodiade, Vienna, September 2003: 'José Cura interpreted the figure of the Baptist-prophet-- as could hardly be expected otherwise-- in an extremely heroic manner and with vocal perma pressure, bursting with power and pride as well as decibels.' Der Standard

Samson et Dalila, Chicago Lyric, 2004:  ‘Argentine José Cura certainly looked the part of the brawny biblical strongman [Dalila] betrays.  His most impressive singing came in 'Vois ma Misere', when the despairing leader of the Israelites cried out to God...’ American Record Review, Spring 2004

Turandot, Verona, July 2003:  ‘José Cura's Calaf, in metallic, shining armor, acts the restless, stubborn hero rather than a touchingly radical lover. Since his virile, darkly timbred tenor voice tends to get into trouble in big lyrical arias, he staked everything on one card in 'Nessun dorma' and mastered this, his test, with great bravura. The audience, overwhelmed by this brilliant performance, clapped and cheered already while he was singing the last note.’ Thomas Thieringer, Süddeutsche Zeitung, June 23, 2003 (translated by Martina)

Andrea Chénier, DVD:  This production's Chénier is the Argentine tenor José Cura. He sang Chénier's two major arias on his "Verismo" CD, and his performance here remains similar – heroic, yet thoughtful. This is a much subtler interpretation than Mario del Monaco's and Corelli's. Cura is handsome, credible, and, at times, quite touching. (I confess to getting choked up during "Un dì, all'azzurro spazio.") .....Raymond Tuttle, Classical Net

Concert, Lisbon, 2002:  '[...] The concert started with solemn tone, the first part filled with symphonies by Tchaikovsky and Rachmaninov and árias from Puccini and Verdi operas, performed competently by the Sinfonia Varsovia and the Chorale Lisbon Cantat.   A genius in communicating with the public, many time setting the mood, José Cura showed himself as a conductor, tenor, pianist, and guitarist as required by the moment.  [...]  After an acoustic rendition of 'Yesterday' by the Beatles, José Cura closed the evening by calling the audience to join in the excellent song of hope, Imagine, and left the crowd in a standing ovation.'  Correio da Manhã

Concert, Poland, 2002 (conducting):  ‘In describing the concert with José Cura, one cannot ignore the whole non-musical layer – the theater created around the music by the Argentinean. The artist, who looks like an American movie star, wearing a black, floating, long shirt, behaves himself too modest. On the one hand he draws attention to himself with his very presence and his every gesture. On the other hand, he cares for the orchestra all the time, showing with every motion that they are the most important element.

When the composition finishes Cura hides somewhere among the musicians, wishing to stress that they are the ones who deserve the applause. At the end, making the musicians stand up with one gesture, he asks for applause for each group of instruments separately. Finally, during the encore, he steps down from his conductor’s stand and sits at the stairs, behind the orchestra. The musicians play alone, without the conductor. When they finish, he applauds them along with the rest of the audience.

José Cura’s concert is no doubt going to go down in as one of the most important musical events in this region, in this season.’  Wyborcza Gazeta, January 2002

Don Carlo, Zurich, Feb 2001:  'Elbows held tight against his torso, he [Cura] portrayed Carlo as an introspective neurotic, an unloved child doomed from birth, baring his soul with his first words -- "Io l'ho perduta" -- in the burnished glow of his voice. He emphasized the brooding character almost to the point of monotony, but it is hard to resist his proud vocal thrust, and he caressed phrases eloquently, especially in the insinuatingly sung soft passages. This promising debut made one look forward to his Otello, which he brings to Zurich next season.'   Horst Koegler, Opera News, May 2001

Otello, ROH, April 2001:  'Jose Cura is a phenomenally gifted artist:  seldom can anyone have made the hideously difficult title role sound so easy to sing, or so rewarding in pure vocal terms.'    Rodney Milnes, The Times, April 25, 2001 

Otello, TWO, 2000: ‘Otello is a vehicle that requires a big star to carry it off. José Cura is that kind of star.’  T.L. Ponick, The Washington Times, March 2000

Le Villi, Martina Franca, 1994: ‘The Argentine tenor José Cura, a truly great performer with a vocal instrument beyond the common, very strong and expressive, imposed himself in the role of the main character, showing that he is an authentic spinto-drammatico tenor, a register today quite rare. Cura, besides a big and beautiful voice, has the stage power of a true actor.’ Il Quotidiano, August 1994

Concert, Ekaterinburg, 2004:  ‘The Ekaterinburg concert proved to be an enormous success for the bright tenor from Argentina, José Cura.  The star displayed a splendid voice, one rich with nuances and passion, effortless.  This concert was not the usual academic performance of arias but a picturesque potpourri, in which the artist, with the aid of the orchestra of the Ekaterinburg Theater of Opera and Ballet and mezzo-soprano Helen Yeremenko, literally re-enacted scenes from Puccini, Verdi, Leoncavello, Saint-Saëns, Bizet, and others.  Cura easily demonstrated the dual nature of his talent--as both vocalist and tenor….The end of the brilliant concert came with the aria Nessun dorma, during which the orchestra paused for an enormous period to allow the singer to complete the infinitely long 'Vincero,' eliciting a roar of enthusiasm from the hall.  

José Cura's concert was capped with a seven minute ovation.’  Regions. RU, June 2004

Samson et Dalila, ROH, 2004:  ‘'It has to be said that [Denyce Graves] and her Samson, José Cura, looked really comfortable with each other. The body language of their fateful tryst was the one great lie that the production made believable - her deceit, his desire. Cura looks great in the role - and he sounds pretty good, too. The swarthy complexion of the voice has always been his strong selling point. And that's what counts in this role - middle-voice masculinity.'  The Independent, 17 March 2003, Edward Seckerson

Ten Tenors Concert, London, November 2004:  ‘You wait years for a nice young tenor and then 10 come along at once. Sadly, though, they're not all as dashing and gifted as José Cura…Cura made light work of the Leoncavallo and Puccini standards. The dashing Argentinian then proved himself a stylish and sympathetic master of ceremonies, giving all nine wannabes the time and space to display their wares in the shiniest possible light.’ Anthony Holden, The Observer, 7 November 2004

Pagliacci, Berlin, April 2005:  'One of the principal pay-offs of this extraordinary interpretation is that the pain felt by characters aware of the dislocations of their ‘operatic’ worlds was unusually present on the stage.  Of course suffering has always been the defining quality ascribed to Canio, and here it was amazingly well realized by José Cura.  At first the voice sounded a little threadbare, but that soon disappeared and ‘Vesti la guibba’, central in every way to this production, was unusually brisk threnody sculpted by floods of secure, burnished sound.  But chief among Cura’s achievements was his ability to keep so much of the pain before us as he and Nedda negotiated the final burlesque.'   Opera, August 2005

Otello, Barcelona, February 2006:  'In the title role, José Cura demonstrated that he is currently one of the best interpreters of Otello on the international stage. He relied on his middle voice and pianissimos, leaving for specific moments the vocal generosity required by the role.  He is prone to use vocal excess to disguise the fact that the singing line is not properly projected in some passages.  In spite of that, and thanks to his charisma and great theatrical gifts, Cura offered an exciting Otello.'  Joaquín Fachado, Canto Lirico,  24 February 2006

Concert, Rijeka (Croatia), July 2006:  'The famous Argentinian tenor José Cura fascinated more than 1,000 opera lovers from not only Croatia but from other countries with his inspirational interpretations.....After the long-lasting applause of the audience, who had been lifted from the seats by Cura’s brilliant achievement and after repeated exclamations of “Bravo!” Cura gave as an encore a traditional love song from Argentina and the famous aria “Nessun dorma.”'  Kim Cuculic, Novi list, July 2006

Stiffelio, London, 1995: ' His voice is certainly of that calibre;  a reedy, almost pre-war tone in the quieter passages is replaced by awesome, open-throated power at high volume.  At the top of his range he can supply unlimited pressure without buckling the sound....' Alexander Waugh, Evening Standard July 1995

Tosca, Palermo, January 2007:  Wanted and yet neglected, it was seen in a format that succeeded in the end because of the providential arrival of José Cura, who found a day off between performances for this single night debut--the tenor arrived in the afternoon and stepped onto the stage without having rehearsed and will depart this morning. Cura stimulated the souls of the spectators who honored the tenor with its warmest applause.  Giornale di Sicilia, January 2007

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

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 is the chance José Cura found in Le Cid. 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. Das Opernglas, Feb 2008

Le Cid, Zurich, Jan 08:  José Cura was dazzling in his debut as Rodrigo; the voice of this artist is the correct size and measure for the role.  Cura is a singer of considerable vocal potential and when, in his artistic journey, he succeeds in mastering [his voice] rather than being its servant, his interpretation takes on another face and character completely. Very musical, precise, measured in the flow of the song and more vigorous in the chivalrous exaltation when his timbre dominated with an emission that took nothing away from the epic inspiration of the tone, it was resplendent in its heroic and vibrant intensity.  Alternatively, he detailed a sensitive and impassioned lover with great attention to the words and phrasing, giving us an overall complex interpretation, sensitive and musically much appreciated.

There are evenings in the theater in which the emotions of life takes a role in the drama on stage; thus it was on evening of the prima, when José Cura had been told only shortly before the performance of his father’s death. The words of Superintendent Pereira who announced the decision of the artist to sing anyway gave voice to the great gratitude, emotion, consideration, and respect for the actor and the courage of the man. The audience that filled the theater rewarded the artist and maestro with numerous and sustained applause, dedicating a wonderful and very much spontaneous standing ovation to the overwhelmed artist, holding him figuratively in an affectionate embrace. L'Opera, Feb 2008

Le Cid, Zurich, Jan 08:  José Cura looked and acted the part of Rodrigue to perfection—youthful, courageous, deeply involved emotionally.  Tragically, the tenor learned on the morning of the performance that his own father had died the previous night in Argentina—a circumstance that must have put extraordinary stress on him during the singing of the text that makes constant reference to Rodrigue’s aging progenitor.  Cura understandably needed some time to settle down and adjust his vocal means but then poured all his heart into a melting “O sourverain, ô juge, ô père.” Cura’s tenor certainly has the necessary steel that Jean de Reszke, the first Rodrigue, seems to have possessed:  in Act III, the opera’s musical apogee, the irresistible, sensuous charm of Massenet ensnared the audience when Cura’s vigorous tenor joined in duet with the soaring soprano of Isabelle Kabatu, his completely captivating Chimène.  Horst Koegler, Opera News, Apr 2008

Pagliacci, San Diego, March / Apr 2008:  If you cannot think of any reason to go and see this production, you need to consider this very important one: Argentinian tenor, José Cura. This is his U.S. debut as the sad clown Canio, which he has sung worldwide to justifiable acclaim. I am not sure that I have enough adjectives at hand to describe his mastery of this role, the thrilling richness, the resounding timbre of his voice and the point perfect acting he delivered on the opening night. There was not one flaw, nor misstep in his performance and he brought admirable complexity to this part. Often what we hear of a singer performing live is dependent on more than just the voice alone. Looks, stage presence, or prior publicity can color what we perceive. Closing the eyes and listening to just his voice, was nothing short of stunning. When presented with the entire package, his tall, dark good looks, the passion that he gave to this performance was magical. His delivery of the Vesti la giubba reminds us of why this relatively short aria is so well loved. Never have violent, abusive tendencies been so smolderingly sexy.  Dawn Southwick, Classical Voice, 22 March 2008

 

Pagliacci, Vienna, Feb 2008:  Purists raged that it made no sense to have Canio sing the Prologue since the character is presumably dead by execution, and that the only survivors of Pagliacci are Tonio and Beppe. To hell with them: Cura, who has had surprisingly few performances in America but here is an official Divo with a wide and adventurous repertoire, entered on February 17 in a black jacket and white shirt and poured out the most luscious rendition of this chestnut I can recall, purposely darkening his already mahogany-hued tenor. Singing simply without added histrionics, Cura soared over the most beautiful music in Leoncavallo's opera with effortless, spine-tingling high notes that most baritones can only dream of. Okay, it may not have been kosher, but it was thrilling beyond belief, and this was just the start.  Cura was a mercurial Canio, joking with the contadini but suddenly turning explosive over the merest jest about infidelity. His elegantly-phrased, introspective "Vesti la giubba" was a match for his explosive "No! Pagliaccio non son!"   Larry L. Lash , Opera News, 17 Feb 2008

Pagliacci, San Diego, March / Apr 2008:  Much of the publicity preceding these performances concerned the appearance of superstar tenor, José Cura, as Canio. He did not disappoint. His easily produced rich tenor voice rolled out over the audience like waves in the ocean. Not only was he vocally powerful, he proved to be a committed actor as well. His 'Vesti la giubba' was worthy of comparison with any of the great renditions of that aria heard over the last thirty years.  Maria Nockin, Music&Vision, 30 March 2008

Pagliacci, San Diego, March / Apr 2008:  Argentine tenor José Cura, in his SDO debut, effortlessly delivered a strong performance. His Canio was absolutely charming when interacting with the village children in the opening scene, sympathetically heartbroken at the revelation of his wife’s adultery, and truly frightening as his pain rose to a terrifying conclusion and the dual murder of his wife and her lover. He delivered a voice that filled this hall with resonance and richness. His “Vesti la giubba” delivered anger as well as anguish and was met with thunderous applause.  Olga Hirsch, OperaClick, April 2008

Pagliacci, San Diego, March / Apr 2008:  This time, one of the highlights was Cura's vibrant company debut as Canio, the cuckolded clown. Small wonder it's his signature role. Cura's blend of magnetic stage presence, distinctive artistry and a strong yet supple voice brought out the contrast between Canio's self-assurance as head of the traveling troupe and his crushing despair as the husband of an unfaithful wife. Nowhere was he more compelling than in the famous “Vesti la giubba.” As he applied his white makeup, he sang with heart-in-the-throat fervor, accentuating the pathos of one of opera's most famous (and wrenching) arias.  Valerie Scher, Union-Tribune, March 2008

Pagliacci, San Diego, March / Apr 2008:  San Diego Opera has promoted its current production of the one-act operas "Cavalleria Rusticana" and "Pagliacci" as a double-bill, but a more apt description of this "Cav/Pag" union would be as appetizer and main course. While "Cav" has symphonic beauty, fine choruses and a standout soprano, it's the "Pag" half of the evening that will resonate in the memories of local operagoers. Argentinian tenor José Cura's beautifully sung and ferociously acted performance as the sad clown Canio in "Pagliacci" is what world-class singing is all about, and he's ably assisted by a strong supporting cast, subtler direction and a more compelling story.  [Richard Leech’s] top range remained secure, but he was no match for Cura's vocal richness, seemingly effortless control and sustained, ringing top notes. Cura's a handsome, magnetic artist at the prime of his career, and it's a gift to San Diegans to have him here, if only for one-half of the "Cav/Pag" bill.  Pam Kragen, North County Times, 26 March 2008

Pagliacci, San Diego, March / Apr 2008:  As the tormented clown Canio, José Cura blew the production out of the water. Yes it's a signature role for the Argentinean tenor, and yes I have heard of him, but nothing could have prepared me for this man's voice and presence. The tenor commanded a voice completely and uniquely his own. His interpretation of Canio's famous aria, "Vesti la giubba," rivals Pavarotti's famous 1974 "Nessun Dorma." Cura's rendition of Canio's anguish brought tears to my eyes. Molly Bettiga, Voice of San Diego, 31 March 2008

Pagliacci, San Diego, March / Apr 2008:  José Cura is a tornado that sucks the breath out of the listener and creates howlers out of staid San Diegans who theretofore tittered inappropriately at various moments in the rarely experienced tragic melodrama of these verismo operas. [I]t was Cura’s evening all the way. So assured is his performance it’s almost as if intentionally casual. See me. I can do this. It’s easy. In “Vesti la giubba” he tosses off high notes traditionally held by others because they're hard to release. He holds other high notes ad infinitum, to the edge of credibility and self-indulgence (one imagines the two maestros, Cura and Mueller, duking it out over this), simply because he is able to and we are willing to listen for as long as it lasts, hopefully forever.   The same applies to Cura’s dramatic interpretation of the jealousy-crazed clown, thrilling, outrageous and ultimately heartbreaking.  Charlene Baldridge, La Jolla Village News, 27 March 2008

 Pagliacci, San Diego, March / Apr 2008:  Maestro Müller kept the show moving well from the orchestra pit, but set a rather undramatically quick pace for the show’s most dramatic aria, Canio's 'Recitar!/ vesti la giubba'... A lesser singing-actor would have found it harder to move the audience singing that thing at such a fast tempo, but then it is for occasions like this that theaters heartily pay the asking price to get an artist like José Cura to star in their shows. From the moment he first entered the stage there was no question who 'the boss' was. And then he started singing and I knew I was in the presence of a sacred monster, a kind of stars who sell out the biggest of opera houses just by being in a cast. What can I say? The guy has a one-in-a-few-millions tenor voice... clear and beautiful with enough zing in it to blow the roof off a skyscraper. And he knows how to act both vocally and physically. There is so much of that irresistibly magnetic 'attitude' on the stage that the few high notes that were held indecently long wouldn't bother anyone in their right mind.  Epinons, 23 March 2008

Otello, Hannover, April 2008:  ‘One suspected a hurricane had announced itself, one anticipated to arrive at the end of the first act immediately following the duet of Otello and Desdemona.  When José Cura stepped before the curtain for his solo curtain call, the bravos swept his hair back like a ride in a convertible. And at the end the opera house shook for fifteen and a half minutes with rhythmic clapping and innumerable bravos as even the second tier patrons rose from their seats for a standing ovation and rhythmic clapping and roses rained onto the stage. A powerful Otello:  José Cura was on from the opening, singing “Esultate!” with immense vocal resource.  His expression of fury and despair, colored with a slightly baritonal voice with excellent top notes, in “Niun mi tema” was world class--a  real treat for opera fans. Cura did not retreat to cheap tenoral tricks: the occasional sob turned out to be very attractive, especially since no one else today delivers them in this way.  This Otello was a performance of sheer joy….’ Neue Press, Henning Querens, April 2008

Otello, Hannover, April 2008:  ‘A request you follow joyfully: "Esultate!" demands Verdi's title hero vividly at his very first entrance. The sheer glory of the Italian dramatic tenor voice is mirrored in this exclamation, when Otello raises his voice over the acoustic waves of orchestra and chorus. What more could one expect from world-class tenor José Cura, who appeared in the newly revived series of Festlichen Opernabend ("Festive Opera Evenings")? Cura’s performance in Hannover can safely be counted among the great musical events in the city's history.  Not because an international opera star appeared and sang well but because his characterization added the decisive weight to a performance and lifted it from the good towards the extraordinary and turned it into an unforgettable night at the opera’.  Stefan Arndt, Hannoveriche Allgemeine, 16 April 2008

Tosca, Karlruh, April 2008:   José Cura, one of the few who have proven to be a world star since the collapse of the classical record market, performed for the second time in the local production, and it would be difficult to find a more convincing Cavaradossi today in his baritonal timbre, the moving piani of ‘O dolci mani’ and his creative power of interpretation of the role.  Manfred Kraft, Badische Neueste Nachrichten, 22 Apr 2008

Concert, Düsseldorf, 19 April:   José Cura prowls the stage as softly as a lurking tiger.  The 45 year-old Argentinian wipes his medium long curls, dripping in sweat, from his face as he engages in his sport of singing.  The audience responds with frenzied ovations. Bravos urge him on again.  The testosterone tenor unleashes one thousand volts. Especially in the middle range he shines, carrying a glowing power, rather baritonal in weight and brilliantly dramatic.  Immediately you see a figure of suffering—flesh, blood, tendons, and muscles.  He stormed the summit of bel canto with baritone Boris Statsenko in the Libertá duet between Don Carlos and Marquis Posa.  Here, Cura demonstrates how he works, with passion and pathos.  Opera needs this Latin American for such spectacles.   Michael-Georg Müller, NRZ, 20 April 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

 Samson et Dalila, Bologna, June 2008:  The Bologna season ended with a resounding success for Samson et Dalila, marked by the rhythmic ‘ola’ of the final applause.  Principle merit must be attributed to that vocal and interpretive hurricane who answers to the name of José Cura. One of the roles felt most keenly by the Argentinean tenor from Rosario is Samson. You may have seen and heard him in action at the Teatro Regio in Turin when he caused a sensation by appearing in loin-cloth, or at the Liceu in Barcelona when his unexpected performance substituting for José Carreras resulted in him becoming a favorite of that theater.  In short, there are few to turn to now for the role:  with the abdication by Domingo, Cura is the only Samson.  Beyond the undeniable stage presence, it must be noted in this role [Cura’s] obvious musical engagement in respect to the score and in adherence to the signs of expression, arriving at a display of unthinkable and sweet mezzevoci in the vocal surrender, where the timbre of precious bronzed amber stands out in all it manly beauty…  Thus applied we want to see and listen more often but one thing more is also Cura:  unpredictable.  However, when he is on stage he is the catalyst who demands the attention while the other struggle twice as hard to be noticed.  Andrea Merli,  L'Opera, Aug 08

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:  With his natural fighter’s temperament, José Cura mesmerized the audience and it would be difficult nowadays to find a more convincing Samson with the requisite quasi-baritonal qualities.  Carlo Vitali, Opera Now, September/October 2008

Edgar, Torino, June/July 2008:   In Turin, no one succeeds more than José Cura with his erotic brute force in the title role of the stupid orphan boy.  He is seduced by the evil Tigrana (Julia Gertseva) away from lovely Fidelia (Amarilli Nizza) who nevertheless remains faithful.  In the pastoral fourth act, after he has returned home, Cura animates his character with youthful tenderness….In the current Puccini celebration year….this performance stands out as a lonely jewel.  It is incomprehensible that Munich or Berlin allowed themselves to allow this opportunity to escape.   KLK, Der Welt, 16 July 2008

Edgar, Torino, June/July 2008:   Yoram David conducted loudly, Amarilli Nizza sacrificed with generous skill, and José Cura hurled a lot of high note.  For him, there was already applause.  Lorenzo Arruga, Il Giornale,  29 June 2008

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

Edgar, Torino, June/July 2008:   With the phenomenal José Cura in the title role the Teatro Regio could get one of the best singers in the world for this role. His deep-voiced tenor is a perfect fit for this conflicted figure, self-restrained even in the arias.   Frankfurter Allgemeine Zeitung, 11 July 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

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

Turandot, London. Dec 2008:  ‘That’s probably about as far as subtleties go in this show, but who can argue with a production as gloriously on-message as Andrei Serban’s classic staging? Here are outsized severed heads spilling silken blood from their mouths, masked grotesques wielding torture implements and a faceless, brown-smocked chorus whose calls for the executioner are much more convincing than their pleas for clemency. Stylised the violence may be, but this is a theatre of cruelty in which only an action man such as José Cura’s Calaf can possibly prosper.’  Neil Fisher, The Times, 27 December 2008

Turandot, London. Dec 2008:   'José Cura as Calaf was on top form, producing some spine-tingling sounds and it was a pleasure that he actually sang 'Nessun Dorma' as if it meant something; his sensitive use of vibrato and understanding of the text puts many other tenors to shame and whether displaying his husky baritonal-tenor voice at mezza voce or full throttle, the results were thrilling.' Keith McDonnell, Music OMH, December 2008

 Turandot, London. Dec 2008:  'Argentinian tenor Jose Cura gradually rises to the occasion as Prince Calaf, underpowered to begin with and gaining confidence in much the same way as he did in La Fanciulla Del West. By the time he approaches Nessun Dorma, he is at full stretch.' Neil Norman, Daily Express, December 2008

Turandot, London. Dec 2008:  'How ironic that the one Puccini opera left unfinished at his death should end (or so it was deemed by those responsible for the finishing touches) with what has become the greatest of his hits – “Nessun dorma”. .. It was a good night, too, for José Cura, well suited to the craggy heroics of Calaf, dark and strong in the middle voice and wholehearted in that aria. And Svetla Vassileva’s Liu, generous of voice and well-practised in the floated diminuendo-crescendos that characterise the role, traditionally upstaged everyone, even in death. Conductor Nicola Luisotti had the sweep and swoon and shimmer of a score that makes love and death almost indistinguishable.' Edward Seckerson, Independent, 23 December 2008

 Turandot, London. Dec 2008:  'The Italian conductor, soon to take the helm at the San Fancisco Opera, is clearly not one to wallow in the luxurious colours of Puccini's japonaiserie; from his stern, tense account of the opening he kept the music flowing, pushing each act towards an inevitable conclusion. 'Nessun dorma' itself, powerfully sung by José Cura, was shorn of superfluous sentimentality and Luisotti pushed through without affording the audience a chance to break the momentum with their applause.  As Calaf, Cura was in fine fettle yet seemed in the first act to struggle to find the most powerful place for his voice to sit. The dark, baritone timbre at times weighed him down, affecting his intonation ... He warmed up throughout the evening, though, and was outstanding in a heartfelt but never indulgent account of his big aria. He still has a tendency towards an almost casual manner of delivery that can result in a petulance to his characterisation, yet he remains one of only a handful of tenors with a voice that can deliver visceral thrills.'  Hugo Shirley, Musical Criticism, December 2008

 Turandot, London. Dec 2008:  'Any tenor tackling Nessun Dorma has the colossal shadow of Pavarotti bearing down on him. José Cura need not fear the comparison. He was once touted as the Fourth Tenor and he certainly has the heft and supreme confidence a successful Calaf needs. As he scaled the heights of Nessun Dorma, his voice, enriched by an impeccably controlled vibrato, was, like the stars of the text, “trembling with love and hope”. Yet it was also rock-solid, more so than the flimsy oriental structure whose pillars he was clutching.  Andrei Serban’s 24-year-old production, revived by Jeremy Sutcliffe, is as spectacular as ever and a serviceable vehicle for singing of this quality.'  Barry Millington, Evening Standard, 23 December 2008

 Turandot, London. Dec 2008:  'José Cura is certainly not immune to the temptation of milking this moment, unleashing his longest long note at the ending. Calaf is not the most engaging of heroes; indeed his single-minded pursuit of Turandot at the expense of the more sympathetic Liù makes him decidedly unappealing. Cura’s voice is not perfectly schooled but it has an appealing baritonal timbre and even if he’s occasionally cavalier with note values he does know how to hold a stage. […]'   Alexander Campbell, Musical Source, 23 December 2008

Turandot, London. Dec 2008:  'Cura’s was a subdued unshowy performance befitting with his perception of Calaf as something of an emotionless ‘bastard’ willing to let Liù die so that he can continue to climb the social ladder. His voice is not lyrical but has a burnished baritonal middle and solid top and the culmination of his performance was an assuredly ardent, if somewhat strangely reflective, Nessun dorma.'  Jim Pritchard, Seen and Heard, December 2008

Le Cid, Zurich, January 2008:  'With a great standing ovation, the Swiss audience in the prestigious Zurich Opera applauded Argentine tenor José Cura, rewarding not only a brilliant performance but the sacrifice and courage it took to sing that night. [The solitude of the hero in O souverain, o juge, o père] must have made it immensely difficult to sing, but the tenor performed with great nobility.  Dynamics which shifted between forte and mezzo-forte presented no problem for this tenor, who prevailed on the orchestra with a powerful and interesting voice and an always inexhaustible reserve.  Despite the personal tragedy, it was an artistically triumphant night for the Argentine singer.'   Cecilia Scalisi, La Nacion, 20 Jan 2008

Fanciulla, London, September 2008:  'We live in an age when opera is truly theatre too, in the sense that action and staging are not mere adjuncts to the music, but - as they should be - full partners to it. This La Fanciulla is just such good theatre, but it also reminds one that the quality of singing has a role in the psychological dimension of that theatricality along with the quality of the music. In every role from minor to major the performances were sure, satisfying and full of energy and intensity.  The moment in La Fanciulla most often reprised in concerts and on compilation discs, Ch'ella mi creda, is beautifully done by Jose Cura. It comes in the high tension of his proposed lynching, the posse assembled in the mine workings under a towering pithead wheel from whose scaffold Ramirez is to be hung, and where Minnie saves him with her hymn to the meaning of individual relations of love and kindness.  This was a night of opera as opera should by definition be, which is to say a great night of opera.'  AC Grayling, Times Literary Supplement, September 2008

Otello, Tenerife, November 2008:  'The role of Otello was interpreted by a splendid José Cura, undoubtedly one of the most famous ‘Otellos’ of the moment, and he did not disappoint.  Cura embroidered the role of the jealous Moor of Venice with intensity, coloring the varied expressions required by Verdi.  And even though the director forced the singers to the back of the stage, in spite of the problems with the projection in the Auditorio, Cura knew exactly how to resolve these disadvantages.'  Lourdes Bonnet, Diario de Avisos, 10 Nov 2008

Samson et Dalila, Santander, August 2008: ‘… Style tenor José Cura undoubtedly has, and his beautiful timbre shone brightly in his debut in the Santander Festival.  He has the force and dramatic quality necessary [for this role] and was splendid in the second act aria, ' Mon coeur s'ouvre á ta voix ,' sung with Dalila.’  Ricardo Hontañon, ElDiarioMontanes, 29 Aug 2008

Samson et Dalila, Bolonga, June 2008:  ‘With great pleasure we found José Cura in wonderful form, extraordinary in stage craft and incisive in accents and phrasing.’  Lukas Franceschini, GBOpera Magazine, 11 June 2008

Turandot, London, December 2008:   ‘If the tenor in Turandot is to be judged by Nessun dorma, then José Cura has truly passed the exam with the note in Covent Garden.  Hot, exciting, and restrained, the Argentine shone in the aria that made Pavarotti famous and molded it to suit his voice, adding the cherry to the top of the huge spectacle.  A triumph….’  Eduardo Suárez,  El Mundo, 06 Jan 2009

Concert, Nancy, Oct 2008:  'It must be said that José Cura has an unusual and very broad range.  It passes from the chest voice to the head with ease and elegance.  And, most importantly, he manages to stay completely within his character, despite the difficulty of a concert when he goes from one role to another, almost without transition.'  D.H., Le Républicain Lorrain, 12 Oct 2008

Concert, Nancy, Oct 2008:   'José Cura enchanted the Nancy opera Friday evening.  What a night!  With José Cura, the Argentine tenor, opera sounds simple, natural, instinctive.  Joyful, even!  It was his clear and conversational celebration that won over the hall, where he appeared with the young soprano, Julija Samsonov.   [Just before the curtain rose it was announced bass Jan Stava could not sing…] but José Cura and Julija rose to the challenge and the evening was like a dream—better even than that enchantment.  All the talent of José Cura, who appears to enjoy Nancy so much that he promises to return next year, lives in the generosity of the character whose voice reaches its fullness with disarming ease.  Sometimes he takes the baton of a conductor, sometimes he leads the young Julija into a corner of the stage, asks for a pair of glasses from a spectator to improvise the singing of an aria from the Marriage of Figaro.  Do not be deceived by the appearance of ease; it is rather certainly the mark of greatness.  But beyond the volubility, beyond the ease to create an intimacy with the public, there are hours and hours of work.  Welcomed on the biggest stages, Cura does not hide his pleasure in Nancy, and the audience returns the feelings.  He received a standing ovation without end, which he shared by holding the hand of Julija and sending kisses to the orchestra.  We ask for more.'  M. R., Le Républicain Lorrain, 13 Oct 2008

Carmen, March 1998, Opera Bastille:  '...the true star of the evening was the tenor Argentinian José Cura.  He created a role . . ..impassioned, definitely less reserved than in San Francisco. At the end of the opera, when he beseeches Carmen, he is literally in tears and it is while crying more than singing that he shouts "do not leave me!"  source unknown

Le Villi, CD, 1995:  'The Argentine tenor José Cura, a truly great performer with a vocal instrument beyond the common, very strong and expressive, imposed himself in the role of the main character, showing that he is an authentic spinto-drammatico tenor, a register today quite rare. Cura, besides a big and beautiful voice, has the stage power of a true actor.' Il Quotidiano, August 1994

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