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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 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

Last Updated: Saturday, February 09, 2008