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Fedora, London, November 1995: "Argentinean tenor José Cura (Ipanov) has a voice which is a decidedly acquired taste, reedy, sometimes even duck-like, but a sound which nonetheless registers as uniquely beautiful to those who have decided to accept it. He 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 supertenor status as special hero by appointment to the cognoscenti." Andrew Waugh, London Evening Standard, November 1995
Il corsaro, Barcelona, February 2005: "José Cura, the star of the night, was comfortable in those passages where he was able to convert to the heroic voice with his explosive personal style. He sang his part in accordance with his musicality and temperament, with his trademark vision which can thrill and which, if lacking in the obvious tradition of belcanto, replaces the loss with an outpouring of high notes and glimpses of ornamentation." Pablo Meléndez -Haddad, ABC, February 2005
Cologne Concert with Anna Netrebko, April 2005: “Netrebko and Cura were able to captivate and win over the audience--which only really warmed up and became enthusiastic after the intermission--and reap standing ovations. On one occasion after the intermission, the charismatic Argentine even stole the show from the almost too unassuming Russian with his tenoral vocal explosiveness…” Wolfgang Hübner, Yahoo Nachrichten, April 2005
Concert, Berlin, Open Air Classic, July 2001: 'Now he has finally been in Berlin, Jose Cura, the new star in the Tenor sky, the Latin lover with the power voice, the singing hope of the 21st century. He came right after Domingo and shortly before Carreras and made his claim to the royal throne valid. The Three Tenors are dead. Long Live Jose Cura! …. Cura, like his Three Tenor colleagues, has one of the most important requirements for success: an attractive and distinctive voice, with an erotic kick like that of the young Carreras, and as powerful as Domingo, crisp in the heights and surprisingly dark in its depths.' Michael Horst, Berliner Morgenpost, July16, 2001 (translated by Anita)
Il Trov, London, 2001: ‘We believe José Cura´s interpretation of Manrico almost impossible to be surpassed.’ Giorgio Banti, L´Opera, January 2001
Otello, ROH, 2001: ‘There is no other tenor on the world, nowadays, who can render the ill, neurotic jealousy of Otello with such an introspective analysis.’ Alexandro Mormile, L´Opera, July-August 2001
Otello, ROH, April 2001: '[Cura] has many natural qualities for the role--physical stature, stage presence, a burnished voice of considerable range and power... He is so prodigiously gifted. …. "Esultate" was near-ideal: fearlessly secure, confidently phrased, altogether imposing.... Cura is the Otello of today and tomorrow...his timbre is as handsome as his appearance.' Andrew Clark, Opera, July 2001
Quote, England, May 2001: 'I hope [Vladimir Galuzine], together with Jose Cura, will raise our confidence in the next 10 years, as Domingo and Pavarotti did in the last 30.' Valery Gergiev, The Daily Telegraph, May 2001
Carmen, Ravenna Festival, 2000: ‘This was the best performance I have yet seen from Cura, with wonderfully spontaneous reactions, showing quite a talent for comedy in Act I . . .. Vocally, Cura injected desperate passion in the voice, almost bursting with a sexual sob, as he sang 'Carmen', when he gives into his passion. The Flower Song was performed as a sweet and impassioned plea, with lyricism and sensitivity of phrasing.’ Ravenna Festival Carmen, Antonia Couling, Opera Now, Nov/Dec 2000
Cavalleria Rusticana, Met, NYC, Sept 1999: 'Cura, a figure of distinct stage presence, seemed to have absorbed Turiddu's character, feeling how such a macho youth would behave and express himself--his guilt tinted with bravado, and vice versa. The voice, dramatically shaded rather than generically displayed, has a nice burr to it, with overtones of both menace and sensuality, well suited to freewheeling verismo.' John W. Freeman, Opera News, December 1999
Otello, Madrid, Nov 1999: 'José Cura has, to begin, a color of voice, dark and noble, very adapted for the role; his singing volume is sufficient and his appearance fits very well with a vision of a youthful and vigorous mercenary who is passionately in love with his Desdemona.' El Mundo, 11/24/1999, Fernando Pergrin Gutierrez
Quote: ‘He began with "Nessun Dorma", an aria most tenors would leave until last. At the end of it the BBC engineer said 'That's the "Nessun Dorma" for this generation.' He was magnificent [and ...] electric.’ Chris Hunt, on José Cura's participation in the Puccini episode of Great Composers, Opera Now, Dec 1997
Il Corsaro, London March 1996: 'Cura with a properly Byronic mixture of energy and sensitivity. The beautiful dungeon scene, an oasis of calm amid all the swagger, went especially well-it is always good to hear tenor singing softly and sweetly.' Rodney Milnes, The Times
Otello DVD:
José Cura remains a somewhat frustrating singer--he strains, sings at half voice more often than he ought to, and occasionally makes truly unappealing sounds. But when he opts for sheer power or emotional truth, he is breathtaking--more Vickers than Domingo in his raw brutality and equally raw fragility. I can honestly say that before seeing this performance I had never been moved by a performance of Cura's, but this is a deeply thought-out, thrilling performance you won't soon forget. ...Robert Levine, ClassicsToday
Otello DVD: Cura gives a passionate, sturdy performance, marking him as one of the few tenors on the scene today able to perform the role in a convincing manner. Cura's throaty timbre can grate in more lyrical roles; here that very thick sound reinforces Otello's masculine authority. .. Chris Mullins, Opera Today
Stiffelio, London, 1995: ‘The Argentine tenor is tall and imposing of stature, and the top of his voice is thrillingly free and secure…He has a nice line in flashing eyes and flaring nostrils, and neatly suggested the man’s fundamentalist smugness in the early scenes. Above all there is an elemental power to his stage persona which is well suited to the role.’ The Times, Jun 1995
Samson et Dalila, ROH, 2004: 'Act 3 opens with Samson alone, chained to the mill wheel. Here Cura was on tremendous form...his strong performance was a striking contribution to the evening. He gave a wonderful variety of tone colour, as he had done throughout the opera, and he made a profoundly moving figure....Cura's final contribution, bringing with it the collapse of the Philistine temple, brought the evening to a triumphant close.' Music and Vision, March 2004, Robert Hugill
Concert, Busseto, 2003: ‘That Jose Cura owns the magic formula for sending an audience into a state of rapture was proven all too clearly the other evening in the tiny Teatro Verdi of Busseto, which was literally brimming with enthusiasm. Moreover, this uncommon and unconventional formula can be traced back to the voracious restlessness, which- like a kind of ‘horror vacui’ (a dread of empty space)- that drives the Argentinean tenor to take up ever more roles…he also plays the entertainer in a truly unstoppable, outgoing, casual manner.’ Parma Gazette, translated by Monica
Concert, Lisbon, 2003: '[...] In the case of the <ill> tenor, José Cura was, of course, worried about saving his vocal cords ...and divided his time between delivering body and soul and trying to last until the end of the more than three hour spectacle. It was therefore noteworthy that the Argentine tenor filled the enormous room with his extraordinary voice while singing the aria 'Nessun Dorma' from Puccini's 'Turnadot. [...] There were magical moments, with special notice going to the delivery of "Feiticeira" by Represas and Cura and in the irreproachable execution of the music (notably the opening work from Tchaikovsky and the Puccini numbers) by Sinfonia Varsovia .. . ' Diariodigital
La fanciulla del west, London: 'In the lead, José Cura was an inspiration. His voice rang out clearly, with refinement, and with power. Dramatically his Dick Johnson/Ramerrez was both flashy and passionate at the same time, which matched the character perfectly.' Mundoclasico, Enrique Sacau, September 2005
Otello, Florence, 2003: ‘The Maggio Musicale Fiorentino closed with a production of Verdi’s masterpiece, one to forget from the point of view of the direction; success, however, for a wonderful Barbara Frittoli, some controversy regarding Vladimir Galouzine, and a personal triumph for José Cura, who undertook the role of the Moor for only one evening. […] With him [Galouzine] alternated Stephen Gould – already known from Fidelio – and José Cura, who, only engaged for one evening in between two performances of Turandot at the Arena of Verona, earned himself a personal triumph. His histrionic stage presence and his vocal authority, of an undeniable timbre and dramatic impact, have made his Otello one of the most sought after today, and he is an absolute protagonist, one who divides people’s tastes but also one who is able to attract all attention to himself. His was an interpretation that succeeded in sparing this production the unfortunate sorts of the premiere. L’Opera, Luglio/Agosto 2003, pp. 23-24, Davide Annachini, translated by Martina
Samson et Dalila, Chicago, 2003/4: ‘Smoldering at the center of the Lyric production were José Cura and Olga Borodina, in her long-awaited Lyric debut. The Argentinean tenor was last seen here in 1994, a promising young talent subbing for Plácido Domingo in Fedora. Cura returns an international star in what has become a signature role for him, and with good reason. He unleashed torrents of ringing heroic tone within a dramatic conception that remained convincing, from the eroticism of the Dalila with the child in the final scenes. His voice seemed to gain power through the evening, yet he maintained the necessary control for some delicate pianissimos in the opening of Act III. Cura’s is not a refined sound, and there is a certain lack of French elegance; but this is an exciting performer who here provided a wealth of visceral thrill.’ Opera News, Mark Thomas Ketterson
Concert, Aalborg, Nov 2002: ‘[...] It is a large voice, the one that resides in Cura's bodybuilder's breast. And it resides there good and safely, the sound flowing from him as effortlessly as crystal clear water flows from its source: sometimes gentle, sometimes swelling but always perfect, breathtaking, natural.’ Aalborg, BT on Line, Nov 2002
Concert, Vienna, November 2002: ‘[Cura] proved to be a meticulous interpreter of Rachmaninov’s Second Symphony. Without airs and graces, with sweeping gestures and precise entries he sketched an electrifying body of sound, in which each movement was followed by frantic applause.’ Kronen Zeitung, December 2002
Concert, Barbican, Feb 2001: 'Cura wins hands down on musical talent alone... The sound is dark and thrilling, his delivery ballsy and impactive. He's a fine vocal actor, colouring his voice to suit each character. The first half of the concert focused on Verdi's flamboyant heroes--dangerously glamourous figures...Each of them was rawly, thrillingly portrayed, though it wasn't until after the interval that we were able to appreciate the full depth and range of Cura's singing.' Tim Ashely, The Guardian, March 1 2001
Otello, ROH, April 2001: ‘Jose Cura is a primal Otello, an emotional time bomb whose triggering unleashes unnerving mood swings between dangerous stillness and a crazed anguish.' David Blewitt, The Stage, April 26, 2001
Concert, Royal Albert Hall, Sept 2000: 'Cura is the real tenor article, with that Italianate ring that is so rare. He enjoys filling his chest for the big crescendos, which he manages with no apparent difficulty, and there were moments, in Don Jose's 'La fleur que tu m'avias jetee' from Carmen, for example, when the timbre lightened, the head voice bringing a delicacy of colour..' Nick Kimberley, The Independent, Sept 18, 2000
Otello, TWO, 2000: ‘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.’ The Globe and Mail, March 2000
Cavalleria Rusticana, New York City, Sept 1999: 'Cura appeared in Mascagni's "Cavalleria Rusticana," a big wet sponge of an opera in which spasmodic arias lurch from sob to sob. It's difficult to gauge an artist's finesse in such a rough-hewn score, but there was no question that Cura commanded the house. His dark, thickly sinewed tenor - like Domingo's, a baritone in disguise - lent itself well to Mascagni's hearty sentimentality and to the role of the brash philanderer. He had energy, power and-never underestimate this-a macho stride. Justin Davidson, All Edition, Sept 1999
Quote: 'The thing with Cura is he's quit able to acquit himself with serious opera aficionados. I don't feel with him that the marketing is outstripping his abilities, which you do get with a lot of musicians.... With José Cura you've got a genuine talent who combines compelling acting skills, a wonderful voice and [who] just happens to be highly marketable.' Neil Evans, editor of Classic CD, from Interview in Independent, Sept 1999
Quote: ‘The Argentinian bel canto José Cura is the new star on the tenor horizon. This voice of the century takes a top C in its stride, yet retains a formidable power throughout the range and above all bewitches the audience with its unbelievably warm tone.’ (Profil, 6 Nov 1997)
Norma, Los Angeles 1996: ‘...and yet it is because of a tenor that fans will be clamoring for tickets for Norma if not for other reason than to say that they saw José Cura then. The young Argentine, making his local debut Thursday, has being singing professionally for only a few years. Cura has it all. He has that special presence that causes you to never stop noticing him when he is on stage. He is exceptionally good looking and could easily suit popular television or film. He sings with a firmness of voice that is smooth across the registers yet commanding virile. His pitches are dead-on. He gives each phrase a natural musical shape, he can act, and it surely doesn't hurt that he happens to be a conductor and composer. Best of all, Cura proved an ensemble player of the most noble sort, doing nothing to upstage the performance, only enhance it.' Los Angeles Times, 7 September 1996
Turandot, Verona, 2003: 'Sometimes, all you want to say about an evening at the opera is 'Wow!'…As Calaf, José Cura's charisma shone from the start, with the size of venue seemingly a perfect match for this great artist. His melodious vocals, with beautifully held top notes, were expertly controlled. Nessun dorma was fresh and true, sung with charm and ease - in the spirit of the night, rather than as a challenge or with gusto, as is often the case.' Opera Now, September 2003
Samson et Dalila, ROH, 2004: ‘.....Lastly, there was José Cura, commanding of aspect and with a nice line in suffering and staggering for the Act 3 solo. It would be churlish to linger on the mannerisms but surely he needs to iron out those now near-persistent swoops up to the note for 'expressive' effect. These tics are doubly frustrating when they accompany such splendid vocal and musical gifts, such tremendous focus at the top of the voice, and a matching ability to sing quietly and beautifully when the music needs it. By the end of the Act 2 love duet, I was teetering, almost willing to believe this opera worthy of the extravagant praise some continue to heap on it.’ Opera, May 2004, Roger Parker
Samson et Dalila, ROH, 2004: ‘Argentinian José Cura, arguably the most gifted spinto tenor of his generation...is sturdy and handsome as the Israelite champion.’ The Stage, 18 March 2004, George Hall
Hérodiade, Vienna, September 2003: ‘[...] Especially José Cura as Jean left nothing to be desired. His metallic voice and his looks suited the role perfectly, and his acting appropriately reflected the required impetuousness. He was the favorite of the evening [...].’ Mittelloge (translated by Martina)
Hérodiade, Vienna, September 2003: '[Cura] was able to score with his immaculate, yes, radiantly sparkling upper register.' Kurier
Symphonic Concert, SOFIA, September 2003: ‘The Argentine tenor José Cura prevailed in Sofía when he conducted the Bulgarian Philharmonia in his first performance in this Balkan country. …. Applause filled the sold-out auditorium in honor of the Latin American maestro as he directed the national orchestra. The program was comprised of works decribed by Cura as some of his favorites: Pines of Rome, by Ottorino Respighi, a perfect fit for his Latin temperament; the 5th Symphony by Peter Ilich Tchaikovsky; and selected pieces from Prince Igor by Alexander Borodin. The Bulgarian audience rose to their feet after the final note in an ovation that lasted several minutes.’ Crónica Digital
Concert, Barbican, 2002: 'Using all the resources of his powerful, baritonal tenor, Cura gives a characteristically unbuttoned performance...’ The Times, John Allison -Barbican 2002
Concert, Leipziger, May 2001: 'Gewandhaus welcomed the tenor, celebrated in the opera houses of Milan, Vienna, London, and New York, into their hearts, right from the first aria from Verdi's seldom heard opera Il Corsaro. This was in part due also to his casually self-confident way of presenting the highlights of Puccini and Giordano operas. And naturally above all, it was because of his voice that, with its dark timbre and velvety middle, is often reminiscent of the young Domingo. After Nessun Dorma, which was an encore, there seemed to be no end to the applause.' Leipziger Vokszeitung, May 2001
Il Trovatore, Madrid Dec 2000: ‘Navarro’s musical understanding and interpretation corresponded extremely well with that of the singers, particularly with José Cura’s. This exceptional singer represented the exact opposite of a singer suffering from an image neurosis, standing close to the orchestra pit, belting out top notes at the tope of his lungs. Cura took pains sticking to the score; top notes were not held excessively and there was no shouting. Instead, the tenor excelled in his variably-nuanced, logical, and at times surprisingly baritonal color of voice, in well-considered differentiations as well as in his involved, passionate acting--a near perfect choice for this role.’ Das Opernglas, February 2001, pp. 8-9, translated by Martina
Otello, ROH, 2001: ‘In exceptional vocal and scenic shape, the Argentine Tenor establishes himself as a reference point in this role (Otello).’ Humberto Fornaster, Opera International, August 2001
Otello, ROH, April 2001: 'From his first entrance it's clear that Cura is not going to disappoint. He combines absolutely commanding stage presence with sturdy technical ability, neither over-doing nor underplaying the expressive possibilities of the part, and his sumptuously huge baritonal tenor evokes all the darkness and tragedy of the man cruelly played by fate and the villainous trickery of his trusted ensign Iago. Though his wide-eyed writhing in Act III and the occasional glottal sobs might be a bit much for some tastes, his portrayal of the character as he is consumed by Iago's poisonous plotting is compelling. In fact it's hard to take your eyes off him at all whilst he's on the stage. Cura draws the audience in as he spirals inexorably downwards from noble soldier to wretched murderer and his final scene is genuinely moving. To evoke this in an audience whilst delivering a musically sound and vocally brilliant performance is truly impressive and Cura's role debut at the ROH is nothing short of a triumph.' Catherine Pate, AudioStreet, April, 2001
Concert, Vienna, July 2000: '" Oh! Jose!" fans sighed Sunday at the music association, and they no longer meant Carreras but Cura, the 38-year old Argentinean. Last October he received the ECHO Classical Award as singer of the year. Now in Vienna 400 autograph-addicted fans shoved the table against him until he breathlessly asked for mercy. And then he charmingly kissed the hand of a 90 year old woman.' The Kurier, July, 2000
Stiffelio, Zurich 2004: “Stiffelio is at the center of the opera, sung (in Zurich) superbly by José Cura. As actor, the 38-year-old (sic) Argentine tenor has strong stage presence in personifying the inner conflicts of his character. From his dark tenor of almost baritonal timbre, he manages to elicit surprisingly velvety colors and shadings. In his strong emotional outbursts, Cura’s Stiffelio points toward Otello.” Neue Luzerner Zeitung, 2004
Pagliacci and Cavalleria rusticana, Verona, July 2006: "José Cura was convincing, vocally well disposed, and in his best game mode." Der Standard, July 2006
"The world's finest tenor knocks audiences into submission with his powerfully seductive voice... Cura is the real tenor article" - The Independent
Last Updated: Saturday, August 16, 2008
© Copyright: Kira
