Home | Up | Latest Update | News Archive | Articles & Interviews | Biography | Concerts & Misc | Covers | Discography | JCx | Maestro Cura | Operas | Photos - Misc | Quotes | Reviews | About Me   

[Quick View 1] [Quick View 2] [Quick View 3] [Quick View 4] [Quick View 5]

Stiffelio, Zurich 2004:  “José Cura paints an immensely vivid and malleable picture of the protagonist, the pastor of a sect: (and he does so) with superb body control down to the fingertips and with differentiation in his musical character."  Der Landbote. 2004

Pagliacci and Cavalleria rusticana, Verona, July 2006:  "....In this company the matador is naturally José Cura, whether as Turiddu or Pagliaccio. His line of singing is reliable, musical, occasionally suffering a bit in the high notes, but always used with brilliance, according to an interpretation of suffered emotional participation and immediate dramatic evidence."  L'Arena, July 2006

Fedora, London, Dec 1995:  'His touching portrait of Ipanov is matched all the way in this lavishly hypnotic revival by the superb performance of Maria Guleghina in the title role...' Alexander Waugh, Evening Standard, Dec 1995

Samson, London, Jan 1996:  ' The great thing is that he does sing softly, much of the erotic charge of the second act was the result of his sensitive caressing of the vocal lines.' Rodney Milnes, The Times, Jan 1996

Otello, Barcelona, February 2006:  ‘In the person of José Cura, Willy Decker has a truly first-rate artist at his disposal to portray this complex being [Otello] who is under fire every which way. The tenor, at his peak in terms of his voice as well as his expressiveness, lives the role, and the way in which he takes over and fills the space (on stage) is exceptional. His metallic timbre with its burnished sparkle, his projection and the intensity of his accentuation are ideally suited to his character, with whom he seems to have become identified ever since he took on the role in 1997.’  François Leseuer, Concert Classic, February 2006

Pagliacci, Berlin, April 2005:  'José Cura does not only possess a phenomenal voice, he is also a media star (he may even have inspired director Pountney to this production). His first appearance on a Berlin stage was expected with great anticipation – and as is fit for a true star he enters the stage in style at the beginning of Pagliacci: in a black limousine – an elegant Beau who hurls out his greeting powerfully, while constantly attacking Tonio and maltreating his wife. He displays so much superiority that his despair later on seems surprising. But the way he expresses these feelings vocally is absolutely terrific. He used his warm-timbred voice, which can also shine on high notes, to great effect... '  Käthe Wegler-Heinze, Der Neue Merker, May 2005

Samson et Dalila, NYC, Feb 2005:  “…the Samson of the tenor José Cura, returning to the Met for the first time since his debut performances as Turiddu in "Cavalleria Rusticana" in 1999, is the big news of the revival.

Vocal purists may still fault his singing for its lack of finesse and the sometimes patchy quality of the legato phrasing. But the clarion power and burnished colorings of his voice offered exciting compensations. Clearly a solid musician, he sang with rhythmic integrity and admirable dynamic shadings.

Still, it was sheer vocal willpower and dramatic risk-taking that gave his portrayal such impact. During the love scene, he sang Samson's climactic top notes lying on his back with Ms. Graves cuddled over his chest. In the prison scene, when Samson, blinded, shorn of hair and sapped of power, turns the mill wheel to which he is chained, Mr. Cura captured the pitiable state of this broken man through his halting steps and anguished singing.” Anthony Tommasini, New York Times, 23 February 2005

Pagliacci, Berlin, April 2005:  "Then it is José Cura’s turn--and he scores before he even opens his mouth. While the designer, Robert Innes Hopkins, forces the German into a gaudy showman’s Elvis costume, the Argentine-a cool, cigarillo smoking macho-is allowed to taxi onto the stage in a shiny black old-timer. Just like his South American soccer buddies, he starts to work magic immediately and moves around (hops, skips and jumps) that it's a joy to watch. From shrill laughter, he plunges into tears and lamentation, pulls himself up to soar with a tearjerker of a melody, and then tops that with-how could you miss it?-a brilliant, daringly sustained ‘firecracker’ of a high note. Bravo, Don José."   Frederik Hanssen,  Der Tagespiegel, 25 April 2005

Pagliacci, Berlin, April 2005:  "José Cura as Canio, a marvel of a voice with tremendous stage presence, who even in his aria did not go for a narcissistic vocal portrayal but integrated it –fast paced-completely into the action on stage. [….]"  Tobias Wolff, Leipziger Volkszeltung, April 2005

Il corsaro, Barcelona, February 2005:  ‘Last Monday was the first performance of Verdi’s opera “Il corsaro”, and also the official debut of the great Argentinian tenor José Cura, who sang the role with energy and power, completing his first aria with enormous effectiveness. Cura’s performance grew in quality through the rest of the opera: the duo with Medora and the prison aria kept the Liceu audience totally satisfied, because this tenor performs  with all the requirements of a Verdian opera of the “primitive” type, such as “Corsaro”: energy, emotional intensity and security.’  Roger Alier ,La Vanguardia,  2February 2005

Quote:  'It's the total package.  In any era, only a very few people are at the pinnacle.  I can't think of anybody who sings as well, who acts as well, who moves as well.  It's like watching a great baseball player who has this terrific masculine grace.  Whatever things might be wrong with Jose's performances, he has a concentration that pulls you right into his world.'   Barbara Cook, quoted by Matthew Gurewitsch in the New York Times, May 2000

Otello, London May 1999:  'He impressed me greatly. His strong, dark, steady tenor lacks colour, but he uses if with musicality and intelligence. There was no recourse to bellowing, and the quiet intensity of Dio mi poveti and Niun mi tema was drawn with real sensibility.'   Rodney Milnes, The Times 

Quote:  ‘A truly dramatic tenor is a rare jewel, and Cura’s voice is both virile and passionate.  He has the energy of a rugby player, and undoubted ability to act and a personable appearance.  These are Qualities that his fast-growing audience appreciate. […] His next Don José In Carmen will certainly be a crowd-puller.’   Le Monde de la Musique, France July/August 1998

Concert, Night of the Stars, London, November 1997: 'I could see just by watching the way that he communicated with the conductor that, although he was a young singer, he was relaxed, gave off an air of maturity and knew what he wanted.  The quality of this singing and his sense of dramatic interpretation were breathtaking.'   Plácido Domingo, 14 November 1997

Norma, Los Angeles, 1996: ‘... it was José Cura, as Pollione, with his breezy strutting, his chiseled gold coin looks, and his silvery incandescent voice, who announced the arrival of a huge new talent.’ Downtown News, September 1996

Tosca, London, 1996: ‘The young Argentinean super-tenor-to-be has already made two immensely impressive Covent Garden role debuts this season, first as Ipanov in the gripping revival of Fedora and more recently as Samson in Saint-Saëns’ opera. Cura’s performances are always profoundly moving, expertly paced, and vividly acted, his Cavaradossi is no exception.’ Evening Standard, April 1996

Stiffelio, London, 1995:  ‘... a real tenore di forza, with a commanding stage presence and an unusually dark, burnished timbre, burgeoning unexpectedly into a brilliant ringing top, Cura is a real find, an Otello in waiting.’ Mark Pappenheim, Independent, June1995

La rondine in Turin:  ‘The future looks bright for the Argentine tenor José Cura, who has a lyrical voice with brilliant top notes….The role of Ruggero, which he took in La Rondine, is well suited to his current vocal strengths, and it showed off his considerable stage presence.....’ Opera, 1994

Otello, Zurich, November 2001:    ‘..Like the staging, the singers seemed to be without direction and orientation.  José Cura saved himself with representative routine, although it was obvious even he didn't know who he was supposed to be - the victorious commander in star wars or a simple astronaut, a suppressed person or an oppressor, a man controlled by passion or calculation...?  Beyond this, the separation of Iago the singer and Iago the (not much convincing) actor gave Cura visible trouble, and not without reason. [NOTE: Raimondi Ruggero, the Iago for this run of performances, was ill on opening night. A non-singing actor played the role while the baritone stood off to the side of the stage and sang the role] Cura did manage to get the side of the surprised Mastromarino during the revenge-duet.  …. Thanks to his enormous presence on stage, however, Cura could still impress even if the production problems kept him from actually touching the audience this night.  Even under these trying conditions, his Otello is hard to beat vocally. Although he sings this most trying of all Verdi tenor roles with comparative lyricism, Cura's dramatic outbursts are easy and convincing. The intensity and emotional depth he can give to his virile timbre were amply demonstrated on this unsuccessful opening night with his superb "Ora per sempre" and "Niun mi tema".’   Opernglass, November 2001

Samson et Dalila, ROH, 2004:  ‘The dashing Argentinian finally seems to be shedding his tendency to play shamelessly to the gallery, not least to his blue-rinse groupies. In this incarnation, with the magnificent Graves raising his game, Cura is wholly convincing, even moving during the treadmill scene, edging me reluctantly towards a rare use of that dodgy critical word 'definitive'.’  The Observer, 21 March 2004, Anthony Holden

Cavalleria Rusticana, Hamburg, 2003 (Conductor): ‘Cura’s approach was very clear: with firm control he had the orchestra create intense, dramatically charged musical lines and was always attentive to the needs of the singers, showing his sure feel for the sound balance between orchestra pit and stage.’ Opernglas, April 2003
 

Concert, Munich,  25 July 2003: ‘No tenorial sighs and no sentimental super lows- everything had format and was done with class. Cura kept his baritone-colored voice masterfully under control up to the highest height. Even in Puccini's crowd pleasers from 'Tosca,' 'Madame Butterfly' and 'Turandot,' he proved his stylistic firmness. Moreover, he topped all this with a vocally brilliant highlight, the Intermezzo epico from 'Aurora' by his fellow countryman Hector Panizza.’ 

Samson et Dalila, Chicago, 2003/4:  ‘Cura was a powerful, subtle, ultimately profoundly moving leader of the Israelites. He has the volume, the dark good looks, the sense of stagecraft and the massive physique of a body-builder. . .After ranting a bit in the first act, he settled down to singing of nuance and purpose. In the first scene of the final act, pushing a millstone, he made Samson's anguish heartbreaking and he lifted himself in the temple scene to the final note that brings down the house - literally. A noble, courageous portrayal.’  News-Chronicle, Dec 2003, Erik Eriksson

Otello, Zurich, July 2002:  ‘His Esultate is so powerful that critics have sometimes accused him of “eccentricity”. But when Cura’s Otello, lying on his back, woos Desdemona in Già nella notte densa – Venere splende, it is not only women in the audience who are fascinated and excited in view of so much athleticism combined with a noble, mostly nobly used natural voice. […].’    Eckhard Henscheid, NZZ, 7 July 2002

Pagliacci, Vienna, Jan 2002: 'Next to the funny Leo Nucci (Tonio) and the lively Nedda of Krassimira Stoyanova, Cura is doubtlessly more than a tenor of brilliant top notes.  He portrays Canio as a self-assured man, who falls victim to his own jealousy and subsequently kills two people.     …..  Cura is intense, versatile.  Dynamically and dramatically he turns the comedy into tragedy; the burnished splendor of the high notes is accompanied by instances in which Cura develops the vocal line veristically out of the text, which leads to the neglect of lyrical aspects. All in all, however, a convincing portrait, and anything but one-dimensional.'  Der Standard, 25 Jan 2002,translated by Martina

Samson et Dalila, Barbican, December 2002:  '...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.'  The Guardian, Tim Ashley - Barbican / 2002

Samson et Dalila, Barcelona March 2001:  'Few times have we heard the sad monologue of the mill-turning sung more emotionally, dramatically, and movingly than from the mouth of José Cura.  Then, in the Bacchanal, his performance was immense, without neglecting the vocal demands:  he thrust himself into the crowd, rolled toward the ground in his knot of chains, and rose up to bring down the pillars of the blazing temple with a high note that sent the audience into delirium.'  Roger Alier

Otello, ROH, April 2001:  '...Cura has made a sensational entrance, his triumphant "Esultate!" cutting through the hubbub like a sword-blade.  Initially, he made nothing special of his words, but seemed content just to wield that burnished voice...As Iago began to sow his poisonous suspicions, however, this Otello rose to the bait with passion and force.  By the end of Act Two he was aquiver with forebodings, and from there on he was utterly obsessed.  There was a certain amount of old-fashioned eye-rolling, but altogether he was too dangerous to brook any reprovals.'   David Murray, Financial Times, April 25, 2001 

Otello, Zurich, Sept 2001: 'With José Cura Sven-Eric Bechtolf has a congenial Otello.  An acting singer, he immerses himself in every situation--love, hatred, and despair... But this is a complete Otello, in his tenderness, in his wildness, in his blindness.  And for each of these feelings, José Cura finds the true suitable vocal expression from a cry to a silent weep.  Excellent.'  Zurichsee Zeitung/translated by Sandra

La Traviata a Paris, Aug 2000: 'As Alfredo, Cura proves again that there is no more exciting young tenor on the scene today.  His dashing looks and heroic timbre, the impulsive thrust of his singing and his attention to words come together in a complex portrait of a man caught in a maelstrom of emotion.'    Octavio Roca, San Francisco Chronicle, Aug 25, 2000

Samson et Dalila, Barcelona:  'Cura sang 'Samson'--an opera that he knows perfectly--with spirit, guts, and a taut and vibrant voice which gave to his character a dramatic force that corresponded to the action on the stage.... Few times have we heard the sad monologue of the mill-turning sung more emotionally, dramatically, and movingly than from the mouth of José Cura.  Then, in the Bacchanal, his performance was immense, without neglecting the vocal demands:  he thrust himself into the crowd, rolled towards the ground in his knot of chains, and rose up to bring down the pillars of the blazing temple with a high note that sent the audience into delirium.'  Vangardia, Roger Alier

Otello, London, May 1999:  'Interest at the Barbican focused on the Argentinian Jose Cura, taking the title role for the first time in London. He impressed me greatly. Although those of us with memories of Domingo and Vickers may miss the former's eloquent legato or the latter's howling anguish, Cura's young, bold and handsome Otello made its own mark. His strong, dark, steady tenor lacks colour, but he uses it with musicality and intelligence. There was no recourse to bellowing, and the quiet intensity of Dio mi potevi and Nium mi tema was drawn with real sensibility.'    Rupert Christiansen, Electronic Telegraph, May 1999

Samson et Dalila, TWO, 1998:  'Ever since Luciano Pavarotti, Plácido Domingo and [José] Carreras turned into a novelty act playing football stadiums . . . the hunt has been on for the next big tenor.  On of the strongest claimants in José Cura, a 35-year-old Argentine bringing down the house (and the set) in Saint-Saëns' Samson et Dalila this month at the Washington Opera.  A kung-fu black belt and bodybuilder, he looks the part of Samson.  Better yet, he sings it.  Thrilling at full throttle, as any Italiante tenor must be, Cura is even more impressive as a lyrical voice in his love duet with Denyce Graves, the Delilah of the Washington production.  The surest measure of his artistry, however, is his nuance vocalism and tragic characterization of the blinded Samson.'  Richmond Times-Dispatch, Clark Bustard - TWO / 1998

Otello, Turin, 1997:  ‘This stalwart Argentinian tenor, with an impeccable accent, with a dark, suave vocal timber, who also possesses a musical discipline without a doubt rare among his colleagues, was at last a 'real Otello':  he recalls with intelligence the best of earlier singers (Del Monaco came to mind many times), but with a communicative ability and personality that tranquilly enable one to predict with ease a long and great career for him.’    La Nazione, Italy 10 May 1997 

Carmen, October 1996: 'Blessed with dashing good looks and a dancer's presence, the young Argentine tenor made a riveting impression.  If his technique is a little reckless, the thrill of the voice is undeniable.  Here is a real powerhouse of a tenor, with a burnished baritonal timbre that brought to mind Ramon Vinay or the young Placido Domingo.  Best of all was Cura's touching, natural way with Bizet's music.  He has a sort of story-telling ease that has been rare among tenors since World War II, the phrasing of a Schipa or even a Gigli.'    San Francisco Chronicle

Samson et Dalila, ROH, 2004:  ‘José Cura answers the first need to a T, and, furthermore, since I last saw him in the role he has developed an amazing capacity to sing quietly, so that his assurances to Dalila after she had opened her heart to his voice that 'Je t'aime' were positively murmured.  Mostly, though, he was singing at full throttle, and sounding superb.’  The Spectator, 27 March 2004

 Concert, Munich, 25 July 2003:  ‘Cura conducted with inspiration, with vigor, with knife-edge rhythmic acuity and with a talent for showmanship.’  R. Schwarz, Sueddeutsche Zeitung, July 26 2003

Samson et Dalila, Chicago, 2003/4:  ‘Cura certainly looked the part of the brawny Samson and…the Argentine tenor mustered the heroic timbre and dramatic declamation needed to get him through this demanding French tenor role. He aptly conveyed Samson's Tannhauser-like struggle between faith and the flesh. His most intense and poignant singing came in "Vois ma misere," when the blinded, shackled captive despairingly cried out to God.’   Chicago Tribune, 15 Dec 2003, John von Rhein
 

Tosca, Japan, 2002:  'The Teatro Comunale di Bologna presenting Tosca on tour in Tokyo. An intoxicating production conveying all the flair of Rome's Baroque monuments, but as if in a gray Neo-Classical nightmare. Inés Salazar as Tosca provided a particular blend of Latino glamour, passion and innocence, with Ruggero Raimondi a most attractive villain, José Cura bravely overcoming a transient ailment and Daniele Gatti treating Puccini as the major orchestral composer he actually is.'    Carlo Vitale, remembering one of his best musical moments from 2002, for Andante.   

Pagliacci and Cavalleria rusticana, Verona, July 2006:    "After returning from Japan, where he starred in the title role of  Andrea Chénier, the Argentine tenor José Cura opened the opera season in the Arena di Verona last Saturday in a truly historic fashion, portraying both Canio and Turiddu in the respective operas of Pagliacci (Leoncavallo) and Cavalleria Rusticana (Mascagni), two masterpieces in the repertoire in which Cura stands among the best in the world and in which he has built the reputation as an outstanding interpreter. He is the first in more than thirty years to sing both roles in the Arena."  La Nacion, July 2006

Last Updated:  Saturday, August 16, 2008

© Copyright: Kira