2001 Warsaw

José Cura, Conductor, Sinfornia Varsovia, Warsaw, 2001 Inagural Concert.

Note: This is a machine-based translation. We offer it only a a general guide but it should not be considered definitive.

José Cura and Sinfonia Varsovia

WProst

Dorota Szwarcman

6 May 2001

When asked why Sinfonia Varsovia, José Cura replies, “Why not? There are things that are not chosen, like love at first sight.” The outstanding Argentinean tenor, at the peak of his career and known to audiences around the world, including in the role of Alfredo in last year’s production of La traviata that was broadcast live on television, is to become the main guest conductor of Sinfonia Varsovia. In an artistic sense, he will become the successor of Lord Yehudi Menuhin, who died two years ago.

Cura first met the band last year during a performance with soprano Ewa Małas-Godlewska at the Teatr Wielki (Grand Theater). During the concert, in addition to his vocal skills, he also had the opportunity to reveal his conductor’s skills. The first contact created an interest from both sides. Cura feels more like a conductor than a singer: he has been conducting from the age of fifteen and became a famous tenor—he claims—only by accident. Today he is busy as a singer but would prefer to devote more time to his first passion: he says that if he had to choice again what to become, he would choose conductor. Thanks to Sinfornia Varsovia he will be able to realize his dream of his own orchestra but—as he said—due to a calendar booked up to 2007 he will not be able to devote as much time as he would like so he is unable to become the primary conductor.

Cura has not yet signed the contract and there are no precise plans. For now, the first official joint concert will be on November 25 at the National Philharmonic where the musicians will perform Sergei Rachmaninov’s Symphony No. 2 and a not-yet-determined work by Ottorino Respighi. This is a major repertoire change for the orchestra, which historically has focused on performing works from the Classical or early Romantic periods or contemporary music. The compositions of late romanticism require augmentation and an emphasis on expression.

Cura worked intensively with Sinfonia Varsovia last week—two days, several hours each day. He is convinced he if he is associated with it he can create one of the best orchestras in the world.

For now, both sides are satisfied. He is a great musician. He is demanding, he knows what he wants and he knows how to do it, according to members of the orchestra.

José Cura, Conductor, Sinfornia Varsovia, Warsaw, 2001 Inagural Concert.

Note: This is a machine-based translation. We offer it only a a general guide but it should not be considered definitive.

Press Release

Muzyka

29 November 2001

The famous opera singer José Cura performed last Sunday at the Warsaw Philharmonic, this time in the role of conductor. Leading the Sinfonia Varsovia, an orchestra known for, among other things, years of collaborations with Yehudi Menuhin, he performed the symphonic work of Ottorino Respighi, Maurice Ravel, Zoltan Kodaly and Sergei Rachmaninov. Why did the Argentinean tenor choose such a difficult repertoire?

José Cura

Conducting and singing are equally as important. They complement each other. When I sing, I think like a conductor, and when I conduct, I breathe and think like a singer.

It is a favorite repertoire that I’ve always wanted to perform as a conductor. There is one more thing. If I were to conduct lighter works, people would say that there was no skill / mastery/ technology / expertise involved, because the orchestra alone could handle them alone. That’s why I took up this challenge, and thanks to this people will understand that the person standing behind the podium is really prepared for what he is doing.

Agata Igras, Sinfonia Varsovia

He’s absolutely passionate about this. He is not in any way mannered because he is still learning, although conducting is his first profession. But he’s still learning. He learns from us. We learn from him.

Jacek Marczyński, music critic

We are witnessing something new. This is an orchestra that grown enormously. At the first concert they were a perfectly harmonious ensemble. That will require work. I think the team must also work on better communication but both the orchestra and the conductor are on the right track which can lead to interesting achievements.

José Cura, Conductor, Sinfornia Varsovia, Warsaw, 2001 Inagural Concert.

Note: This is a machine-based translation. We offer it only a a general guide but it should not be considered definitive.

José Cura

Rzeczpospolita

April 2001

He is 39 years old, handsome in the way of the southern macho and with a beautiful voice, so it is not surprising that he the favorite of opera fans around the world who see him as the successor of the famous tenors Pavarotti or Domingo. Because José Cura says that music is a business, a product to sell, he tries to do his best in the role. Since he is considered the best current performer in the role of Verdi’s Otello, he accepts invitations to perform this opera in the most prestigious theaters. But his artistic ambitions are undoubtedly greater and he knows how to consistently pursue his goals, which he often achieves.

He was born in 1962 in Rosario, Argentina’s third largest city. He began his musical education at the age of 12 when he learned to play the guitar. Three years later he made his debut as a choir conductor in his hometown, where he also studied composition and conducting. Only when he was 20 years old did he take up vocal training and began to think about a career as a singer. His beginnings in the field, however, were not encouraging.

He first appeared in Europe in the early 1990s and quickly became very successful.

[In 2000] he appeared in the famous live television production of La traviata but he admits that he is sad that his audience only wants to listen to popular arias in his performances. That is why he composes and more and more willingly returns to his first profession, conducting. He is currently working in cooperation with the Polish orchestra Sinfonia Varsovia as its permanent guest conductor.

José Cura, Conductor, Sinfornia Varsovia, Warsaw, 2001 Inagural Concert.

Note: This is a machine-based translation. We offer it only a a general guide but it should not be considered definitive.

In Conversation with José Cura

CNT

21 November 2001

Jacek Marczynski

José Cura on preparations for the Sunday concert with Sinfonia Varsovia

CNT: Are you still as enthusiastic about working with Sinfonia Varsovia as you were after your first meeting?

José Cura: Even more so. At that time we tried to get to know each other but now we have started serious work. And literally with every minute the sound of the orchestra gets better and better and so I’m happy.

CNT: The effects of that work will be known with the Sunday concert. Why did you choose songs of such different character?

JC: Respighi and Kodalyi were the greatest symphonists in their countries and they composed at roughly the same time. In contrast, I decided to separate them with Ravel’s Pavane for a Dead Princess, which I like very much. I would like it to be a moment in our concert to honor those people who have died in recent months as a result of the tragic events in the world. I understand that these, like the Rachmaninoff Symphony No. 2, are not the compositions typical of the repertoire of Sinfonia Varsovia.

CNT: I understand that you have decided to expand it.

JC: When I was invited to cooperate with the Warsaw musicians, I said immediately that I was interested in romantic music from the end of the 19^th century to the beginning of the 20^th. I love, for example, Shostakovich. As a singer, I don’t have Mozart of Donizetti in my repertoire but Verdi and Puccini because their works suit my personality. Therefore, anyone who wants to work with me must take into consideration my preferences.

CNT: Is there a chance that the Sunday concert will be the beginning of a new stage for you and the orchestra?

JC: We have many plans. In December, we will record Rachmaninoff's Symphony No. 2 and then record some baroque pieces with Ewa Malas-Godlewska. It’s a completely different kind of music. I’ve never sung [this type of music] so it will be a very interesting, though difficult, experience for me. Next year, in June, we are going on a big tour to Japan at a very good time, during the World Cup, when the eyes of the whole world will be on this country.

CNT: How many concerts with Sinfonia Varsovia can be included in the calendar by one of the most sought after tenors in the world?

JC: I think about fifteen a year.

CNT: Are these supposed to be a kind of rest for you as a singer?

JC: It will be a holiday for my voice but as a musician I will not rest. I treat the work with Sinfonia Varsovia as a return to my musical roots and youthful plans. I started conducting as a teenager and only started singing ten years later.

CNT: I understand you may be tired of constant demand for appearances in the role of Otello, Don Carlos, or Radames.

JC: It can be dangerous to duplicate the same opera role over and over again. You can fall into a routine. I want to avoid this and that’s way being able to conduct is very healthy for me as a musician. And it’s also healthy for my voice. Now I perform eight times in a season but because of the these concerts I can reduce that number to maybe 50 and that way I will have a voice for more years.

CNT: What are you like as a conductor: tyrant or partner?

JC: Definitely a partner. And I try to be like that when I get behind the podium. I don’t tell musicians just to follow my baton but I ask individual instrumentalists to show me how they play. I want to learn how they feel about the music we’re supposed to be making together.

CNT: Do you think it is easier for you to work with the orchestra because of the fact that as a singer you so often stand on the other side, facing the conductor?

JC: It’s a very interesting experience. A man knows very well what he does not like when someone else is leading him. It’s a bit like the relationship between father and son, when the son sees the mistakes of his parents and promises himself that when he becomes a father he will act differently. Life doesn’t always work that way. A man grows up and forgets his youthful promises. However, I hope that as a conductor I will have a good memory.

José Cura, Conductor, Sinfornia Varsovia, Warsaw, 2001 Inagural Concert.

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José Cura Conducts

Trubadur

Katarzyna K. Gardzina

A report on the press conference….

On 25 November 2001, an extraordinary concert took place at the Warsaw Philharmonic concert hall, during which the famous tenor José Cura conducted the Sinfonia Varsovia in concert for the first time. […] A few days before the concert, a press conference featuring José Cura and Franciszek Wybrańczyk, director of Sinfonia Varsovia and president of the Sinfonia Varsovia Foundation (concert co-organizer) was held. Below are some of the more interesting statements from the tenor-conductor:

José Cura: For several days journalists have been asking me only about the Era of Love album and concert. I understand the interest of the media but please remember that in my music life a project like Era of Love is only a part… It is thanks to that project that I am here today. I met Sinfonia Varsovia for the first time during that concert.

-- Where did you get the idea to conduct?

JC: I started conducting when I was 15 and I started singing [professionally] when I was 29, so conducting came first.

-- Have either you or the orchestra previously performed the pieces included in this concert?

JC: I haven’t conducted this program before. I wanted my first concert with this orchestra to be something completely new for me and for them. Thanks to this, we have the chance to create completely pristine music together.

-- Do you have any further repertoire plans related to the orchestra?

JC: I hope to marry an orchestra on Sunday. Who or what our children will be we will decide once our marriage is concluded. […] This is just not another concert because for us it is the hope of a wonderful future together. It will be like a wedding and sometimes I would like people to throw rice rather than applause at the end of the concert.

For now there are two projects: on 3 and 4 December of this year we will record Rachmaninov’s Symphony No 2. In June 2002 we will offer ten concerts in Japan during the World Cup there. It is known that on such occasions that the eyes of the entire world will be directed there.

-- When will you present yourself as a composer?

JC: I don’t know when I will have the courage to present my compositions, because the presentation of my own songs is something that is terrifying (…)

I remember singing in the Teatro Colón in the 1984 / 1985 season. There, for the first time, I met Krzysztof Penderecki, who came with the premiere of his Te Deum. Life is fun and surprising—now I am the main guest conductor of the orchestra whose musical director is Penderecki. So imagine how proud that child who is hidden away inside of me is to work with such a legend.

-- When will you perform in Poland as a singer?

JC: At the moment I have no plans to sing in Poland because no one has invited me, but if you know someone like that, I am waiting for proposals. For now, you’ll be able to see me more often in Poland as a conductor, perhaps singing with his orchestra.

-- Returning to the future repertoire of the orchestra, maybe you can share some secrets?

JC: The repertoire plans I have for the orchestra are tied to the period that interests me most, that is the music at the turn of the 19^th century and the 20^th centure. I identify with this music the most. As for specifics, think of the symphonies of Shostakovich or Holst’s Planets.

--What percentage of Polish music will be included in the repertoire?

JC: One of the Polish numbers I would like to conduct, and which I personally identify with, is Górecki's Symphony No. 3. I have already asked a soprano to learn the part, so maybe. You can also imagine a concert in which in the first part I would conduct Górecki's symphony and in the second Penderecki would conduct his Requiem with me singing Lacrimosa (…) because, as you know, it’s written for tenor but no tenor has yet performed it. Oh, that’s a great idea. I hadn’t thought about it before…

I would also like to make sure that this orchestra finally has its own space, a home. It should also have a normal concert season, with 10 – 15 concerts in its own country.

Note: This is a machine-based translation. We offer it only a a general guide but it should not be considered definitive.

Music of Great Emotions

Rzeczpospolita

Jacek Cieślak

27 April 2001

José Cura as guest conductor of Sinfonia Varsovia

Rzeczpospolita has confirmed that the world-famous tenor José Cura will become a guest conductor of Sinfonia Varsovia. On 25 November, the musicians will give their first official concert in Warsaw. They met last year on the occasion of a concert promoting the album Era Of Love with the participation of Ewa Małas-Godlewska.

When asked by Rzeczpospolita why Cura decided on Sinfonia Varsovia, he said it was like choosing a wife.

“Some things are not chosen, they just happen. Our meeting is not the result of the intrigues of concert agents, it is not related to the interest of any sponsor. It was a happy, spontaneous meeting of artists. Believe me, after ten minutes of rehearsal I am able to tell what whether the collaboration of the musicians will succeed for fail. We are ready for success. When we played Rachmaninoff's Symphony, I lost control of myself and began to cry, although I must admit that this is not the way professionals behave. But it was a beautiful moment.

Cura expressed his hope that Sinfonia Varsovia would become the first orchestra in the world.

“And what began with a normal, spontaneous contact can also end up as an excellent business for all of us,” he added. “It’s funny, but eight years ago I received $100 for an opera performance. Today, I earn a hundred times as much. And I didn’t sing worse, or with less commitment. You have to give to take. Playing in the world, having legendary orchestras in front of me, I always had the feeling that they were outstanding excellent in part because they felt well paid and secure for their livelihood. Artists must pay taxes, too.

Cura added, “For now, we’ve found that we can be happy with each other. I haven’t signed the contract yet. The only thing I can say with 100% certainty is that we will play the great romantic repertoire, because I am a great romantic, so it is going to be music of great emotions. For example, Ottorino Respighi's songs, Rachmaninov’s Symphony. No 2. This is new repertoire for the orchestra, but it is important for me that our joint work begins from scratch.”

The renowned singer admitted that if he had to choose between singing and conducting today, he would choose conducting.

“I started singing because one of my teachers said that if I wanted to become a better conductor, I had to learn to sing. I replied that I didn’t want to become another hysterical singer – that’s how they are perceived. I have not become a capricious artist. The conductor’s task is not to make circus gestures with his hands or a baton as is so often seen, but to create an ensemble from the musicians. I regret that I don’t have time to conduct as often as I would like. I have a full opera performances on my calendar until 2007. Today I don’t have to sing as often as I used to, because my fees have gone up, but I can only become the Sinfonia’s guest conductor.”

Cura explained the mystery behind his black belt.

“It has nothing to do with a cinema of violence. I don’t knock over every pedestrian I encounter on the street. Before I started practicing, I felt that I was too tall and heavy, that I walked like a monkey. I treat kung-fu as an art of body control which allows me to move more elegantly on the stage.”

The artist considers marrying his wife to have been the most important moment in his life.

“It was my big success because I’m connected to a person supported me when it wasn’t much fun. For a public figure, the biggest challenge is to have a happy marriage and to live in such a way that at age 60 you can say to yourself ‘it wasn’t so bad.’”

José Cura, Conductor, Sinfornia Varsovia, Warsaw, 2001 Inagural Concert.

Note: This is a machine-based translation. We offer it only a a general guide but it should not be considered definitive.

On Sunday, José Cura’s first concert with Sinfonia Varsovia

Meloman

11 November 2001

José Cura—the world-famous singer who was appointed earlier this year as the main guest conductor of Sinfonia Varsovia—will conduct the first concert with this orchestra on Sunday at the Warsaw Philharmonic.

The program will include Pini di Roma by Ottorino Respighi, Pavane to a Dead Princess by Maurice Ravel, Dances of Galánta by Zoltan Kodaly, and Symphony No. 2 op. 27 in E minor by Sergei Rachmaninoff. As Cura stressed during the press conference, these are compositions which had not previously been performed by either the orchestra or the conductor.

Sinfonia Varsovia, as orchestra directorAs Franciszek Wybrańczyk said, still works without a permanent conductor, relying, instead, on guests. “This is our tradition: we are looking for great people, great artists, great names,” added Wybrańczyk.

The first guest conductor was the outstanding violinist, Yehudi Menuhin from 1984 through 1999. Now a singer has become the conductor. According to Wybrańczyk, this will be beneficial to the organization because José Cura draws attention to the melodic line of the songs performed. “The orchestra needs a melody,” he said.

Cura first met Sinfonia Varsovia last year while working on the Era of Love project with Ewa Małas-Godlewska. “Sinfonia Varsovia is treated as a chamber orchestra. For me, it is a great orchestra that performs chamber music, not a chamber orchestra that performs great music,” says Cura. The singer admits that although he is known in the world for his vocal achievements, conducting was the earlier passion in his life. “I started conducting as a 15 year old, singing at age 29. Now I am 39 years old. So I have been conducting for 24 years, singing for only 10.”

Cura first met Krzysztof Penderecki in the mid-1980s when Cura was a young chorister at the Teatro Colon in Buenos Aires. The Polish composer was in the country for the Argentine premiere of Te Deum. This meeting, as Cura recalled, made a great impression on him. He acknowledges that he is proud to be able to conduct an orchestra whose musical director is Penderecki.

When asked by journalists about his willingness to perform Polish music, Cura admitted he was very fond of Symphony No. 3 by Henryk Mikołaj Górecki. “Perhaps this will be the first Polish worked performed by me with this orchestra. I even gave a vocal solo part from this work to a certain singer to prepare her for it,” revealed Cura.

He added that perhaps there would be a concert of Polish music performed by Sinfonia Varsovia in which he would conduct Górecki's Symphony No. 3 during the first half and then in the second half present Penderecki's Lacrimosa under the composer’s baton with Cura as the soloist.

The first planned joint CD of Cura and Sinfonia Varsovia is to be an album of the music planned for the Sunday concert--Symphony No. 2 by Rachmaninoff. The conductor admits he also dreams or working with the orchestra on Holst’s Planets by Holst and Shostakovich's symphonies.

Cura added that over the years he has received at least six proposals to conduct various orchestras “from Japan to Argentina.” He chose Sinfonia Varsovia because he had already made a connection with the ensemble and because the rules of his participation with the orchestra do not limit his as a soloist.

José Cura, Conductor, Sinfornia Varsovia, Warsaw, 2001 Inagural Concert.

Note: This is a machine-based translation. We offer it only a a general guide but it should not be considered definitive.

Cura Conducts Sinfonia Varsovia

Wiadomości

22 November 2019

José Cura, one of the brightest opera stars of our time, has arrived in Poland. This time, unfortunately, he will not sing. Instead, on Sunday he will debut at the Warsaw Philharmonic as the main guest conductor of the Sinfonia Varsovia.

The Argentinean tenor has conquered the world’s greatest opera stages with his powerful voice and spontaneous acting. His operatic performances have made him famous. Singing, however, is not his only passion—he also conducts and composes. This year he became the main guest conductor of the Sinfonia Varsovia. His predecessor in the post was Yehudi Menuhin, who died two years ago.

For his first concert, Cura has chosen works by Ravel, Rachmaninov and Respighi. The program will include Pini di Roma by Ottorino Respighi, Pavane to a Dead Princess by Maurice Ravel, Dances of Galánta by Zoltan Kodaly, and Symphony No. 2 op. 27 in E minor by Sergei Rachmaninoff. As Cura noted in the press conference, these are compositions which had not previously been performed by either the orchestra or the conductor.

As Franciszek Wybrańczyk, the orchestra director, said, Sinfonia Varsovia still works without a permanent conductor, relying, instead, on guests. “This is our tradition: we are looking for great people, great artists, great names,” added Wybrańczyk. The first guest conductor was the outstanding violinist, Yehudi Menuhin from 1984 through 1999. Now a singer has become the conductor. According to Wybrańczyk, this will be beneficial to the organization because José Cura draws attention to the melodic line of the songs performed. “The orchestra needs a melody,” he said.

José Cura, Conductor, Sinfornia Varsovia, Warsaw, 2001 Inagural Concert.

Note: This is a machine-based translation. We offer it only a a general guide but it should not be considered definitive.

Extraordinary Concert

NET Promotion

2001-11-26

José Cura – who doesn’t know the name? An outstanding singer, composer and conductor, last year, together with Ewa Małas-Godlewska, he recorded the album Era of Love, which gained enormous popularity in our country. On Sunday evening, this acclaimed artist took part in a concert held in Warsaw’s National Philharmonic. During this “extraordinary concert” Cura appeared as a conductor, with Sinfonia Varsovia performing the most beautiful themes from Ravel, Kodaly and Rachmaninoff. Among those in the audience were Ewa Małas-Godlewska, Jolanta Kwaśniewska, Krzysztof Penderecki and Andrzej Wajda. Bogusław Kaczyński was the host of the event.

“Everyone is surprised by this, that I am conducting such an important concert. I understand the surprise—when a world-famous singer begins to conduct, it means that he does it for one of two reasons: he knows exactly what he wants or it is a suicide [mission]. I know what I want! I “married” this orchestra and I think it is a successful marriage,” José Cura stated.

We should add that José Cura has been happily married for 17 years and is the father of three children. As he says, the most important moment in his life was when he stood at the alter.

What are his plans for the future? During the World Cup he intends to tour Japan with Sinfonia Varsovia. In addition, there will soon be a Rachmaninov album performed by the Warsaw orchestra on the market—of course under Cura’s baton.

José Cura, Conductor, Sinfornia Varsovia, Warsaw, 2001 Inagural Concert.

Note: This is a machine-based translation. We offer it only a a general guide but it should not be considered definitive.

A Baton for the Tenor

Rzeczpospolita

Jacek Marczyński

19 April 2001

José Cura in now the conductor of the Sinfonia Varsovia

The famous Argentinean tenor José Cura wants to become the permanent guest conductor of Sinfonia Varsovia. The final decision will be made at the end of April, when the artist arrives in Warsaw for his first rehearsal with the Polish musicians. At that time, the schedule of joint performances will also be released.

The first time Cura performed with the Sinfonia Varsovia was at the Grand Theater in Warsaw last November, at the invitation of the Polish singer Ewa Małas-Godlewska. He did not think it an artistically successful concert but at the time he drew the attention of the orchestra accompanying him. He was particularly pleased with the sound. It is worth remembering that it was during this evening that he conducted the orchestra for the first time. The Warsaw musicians played the prelude to La fanciulla del west under his baton.

The Argentinean singer is currently at the peak of popularity. Considered to be a tenor particularly destined for dramatic roles, he has a calendar filled with opera commitments until 2005. However he claims that, “I am a conductor who started singing, not a tenor looking for other activities.” He was already conducting as a fifteen-year old and started singing professionally 13 years later.

It was José Cura who proposed cooperation with the Polish orchestra. At the moment, arrangements are underway as to determining what the orchestra should look like. Sinfonia Varsovia, which was established in 1983 as the result of the transformation of the Polish Chamber Orchestra created by Jerzy Maksymiuk, never had a boss but instead collaborated with many artists. Yehudi Menuhin served as a permanent guest conductor for a number of years. After his death, Krzysztof Penderecki became the first artistic director in the history of the ensemble. It is with him that the orchestra currently performs most frequently, sometimes with an extended line-up and under a changed name as the Penderecki Festival Orchestra. The composer will continue to be its director.

José Cura will come to Warsaw to conduct his first rehearsals with Sinfonia Varsovia on April 25 and 26 with whom he wants to prepare a repertoire the ensemble has never performed before, and he has never performed before on concert stages. If the work goes well, the first joint concert will take place at the end of November in Warsaw. José Cura would like to invite many guests from all over the world to this evening.

José Cura, Conductor, Sinfornia Varsovia, Warsaw, 2001 Inagural Concert.

Note: This is a machine-based translation. We offer it only a a general guide but it should not be considered definitive.

The Beginning of the Road

Rzeczpospolita

Jacek Marczyński

26 November 2001

José Cura conducts Sinfonia Varsovia

The initial concert of the Sinfonia Varsovia with the famous tenor José Cura, who has returned to the profession he first studied, was neither a social event nor an evening of musical fireworks. Yesterday Warsaw met the musicians who are just beginning their work together and who may reach very interesting results.

The launch started at a high level. The rich program was composed of works of different character and treatment for the orchestra. Sinfonia Varsovia performed in an expanded line-up. Although the vast majority of the players have not lost their skills, it takes time for a new set of musicians to develop in a synchronized ensemble. Some intonation imperfections, minor sound impurities, especially from the wind section, stem from the fact that after 30 years of activity Sinfonia Varsovia is once more at the beginning of the road. In addition, for both orchestra and conductor it was an evening of debuts, since neither had ever performed these songs before.

The first part of the concerts was most effective, especially Respighi’s Pini di Roma, a spectacular piece for a great orchestra, allowing them to present both power and subtlety. Equally as attractive were the Dances from Galanta by Kodaly, inspired by Hungarian folklore. Cura seemed particularly interest in sound contrasts. As a conductor, he also showed sensitivity to the beauty of the melody, which add splendor to both songs. He fared worse when he had to deal with subtle musical tissue, for example with Ravel’s Pavane for a dead princess.

Rachmaninov’s monumental Symphony No 2 's played after the break carried a powerful portion of beautiful music, the orchestra did not extract it in its entirety. But this piece, one of the most outstanding symphonic works, requires a conductor with vast experience who could create a fascinating whole from the composition. As an encore, Sinfonia Varsovia played the overture to Rossini’s William Tell in a truly brilliant way. Cura left the podium, wanting to show what the great musicians could do without him. It was just a courtesy gesture: no orchestra can perform such a concert without a good boss; it was the result of their joint work. It will be worth waiting for another meeting in Warsaw of Sinfonia Varsovia and José Cura.

Note: This is a machine-based translation. We offer it only a a general guide but it should not be considered definitive.

Famous Tenor as Conductor of Warsaw Orchestra

Welcome to Warsaw

The distinguished world famous, opera singer Argentinean Jose Cura has become guest conductor of the famous Warsaw symphony orchestra, Simfonia Varsovia. The artist came into contact with this superb musical ensemble for the first time in September 2000, when he came to give a concert in Warsaw's Great Theatre. The reciprocated appreciation, which was born at that time between him and the Polish musicians, bore fruit in a decision to work together permanently. Jose Cura compared their first joint concert jokingly to a marriage ceremony and he hopes that it will be followed a period of happy married life with a great many talented offspring.

Both sides are really pleased with this artistic connection. For the Warsaw orchestra, working with the distinguished tenor surely is creative and for him it is an occasion to return to his first profession - that of conductor. "In recent years I have had proposals from a few orchestras which wanted to work with me. I chose the Simfonia Varsovia because there are splendid musicians in it. Apart from that, I decided from a sentimental point of view. In my youth I sang in a choir in Buenos Aires. I remember how the eminent Polish composer Krzysztof Penderecki came to us to direct his "Te Deum" and I observed him with admiration. Now I can work with an ensemble of which he is the artistic leader," Cura confided to reporters. At the inauguration of this co-operation, Simfonia Varsovia, conducted by Jose Cura, performed a few works of European music, composed during the years 1900-1933, among them:"Pavane pour une infante defunte" by M. Ravel. The audience gave the artists a warm ovation.

José Cura, Conductor, Sinfornia Varsovia, Warsaw, 2001 Inagural Concert.

Note: This is a machine-based translation. We offer it only a a general guide but it should not be considered definitive.

Curation of Sinfonia Varsovia

WProst

Dorota Szwarcman

09 December 2001

[Excerpt]

Translated by Agata

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.

Cura has proved to be not only a skillful conductor but also an entertainer in the American style. He has brought freshness on the Philharmonics stage, where one can rarely see such gestures: the conductor raises his hands, but nobody starts playing; only a moment later from a balcony a trumpet sounds, and after the orchestra follows and plays alone Rossini’s overture, while the conductor steps off the podium. Last time something of this kind happened was in 1992, during the New York Philharmonics concert, when Kurt Masur left the orchestra to perform the encore without him.

Self-playing orchestra

This gesture speaks all the best for Cura. The artist wanted to give the ensemble a particular status, and a chance to show its skills. The manager, Franciszek Wybranczyk, has been organizing orchestra’s work for the past 25 years. During that time, the smaller ensemble, The Polish Chamber Orchestra, was led by Jerzy Maksymiuk. Such celebrities as Claudio Abbado, Charles Dutoit, Jerzy Semkow or Jan Krenz conducted Sinfonia Varsovia. The principal guest conductor was the eminent violinist Lord Yehudi Menuhin.

Chamber orchestras often work without a permanent conductor. It is rare for a symphonic ensemble to work in such a way – a group of several dozen players requires regular artistic supervision. Sinfonia Varsovia was a chamber orchestra and it developed into a symphonic one. In 1997, when Krzysztof Penderecki became its music director, it was greatly expanded. The presence of José Cura, a devotee of romantic and 20^th century music, determines Sinfonia Varsovia’s future as a symphonic ensemble.

The orchestra's status in Poland is also an exception: it functions as an independent institution, with no abode; the rehearsals take place in the hall of the Warsaw railway technical school. That the orchestra maintains such a high level of professionalism is a miracle.

This is a courageous step for José Cura, who is, after all, at the height of his singing career for which he is world famous. He feels a conductor first, then a tenor – after all he had started his conducting profession 10 years earlier. His work with Sinfonia Varsovia now is therefore a coming back to his roots. The artists expect to give around 15 concerts a year, together. José Cura wishes to help the orchestra in obtaining a stable abode and achieving its potential. There is no doubt that this relationship will be of great empowerment to both parties.

Polish Press Reviews of José Cura's 1st concert as the Principal Guest Conductor of Sinfonia Varsovia at the Concert Hall of the Philharmonic, Warsaw

25th November 2001

Respighi Pines of Rome
Ravel Pavane pour une Infante defunte
Kodaly Dances of Galanta

Rachmaninov Symphony No, 2 in E minor

Vivid inauguration

Sinfonia Varsovia performed yesterday, in bravura style. This concert was the orchestra's first collaboration with José Cura, the world-renowned tenor, who now intends to combine his singing career with conducting. He was appointed the principal guest conductor of the Polish ensemble. The concert in the National Philharmonic was opened with Respighi's colourful symphonic fresco “The Pines of Rome”.

Gazeta Wyborcza 26.11.2001

Sinfonia Varsovia has a new conductor

Cura behind the stand

José Cura is the new Principal Guest Conductor of Sinfonia Varsovia until 2004 and is following in the footsteps of the great Yehudi Menuhin. On 25 November 2001 the National Philharmonic hall celebrated the official wedding - as the singer put it.

José Cura led the orchestra in a spectacular symphonic programme, combining Ravel’s, Respighi’s, Kodaly’s and Rachmaninov’s works.

Sinfonia Varsovia's artistic director for the past 4 years is Krzysztof Penderecki. He has now gained another great name with whom to collaborate. José Cura, until now, has been more known as a vocalist than a conductor. Originally he studied conducting and composition in home Rosario and then in Buenos Aires. After becoming famous as one of the most eminent tenors of his generation, he now returns to conducting.

It was an impressive start, with large media coverage. One could find all the main politicians in the audience and the President of the Republic of Poland has taken the concert under his distinguished patronage.

Sinfonia Varsovia was born in 1984 on the basis of the legendary Polish Chamber Orchestra, established in the 70’s by Jerzy Maksymiuk. This small orchestra was elevated by the hard work of Maksymiuk and is now greatly admired by Polish and international critics.

Maksymiuk stood down as Yehudi Menuhin became the Principal Guest Conductor of the ensemble which by this time had grown from a string ensemble to one with wind and brass players making it more a chamber orchestra than string ensemble.

Menuhin’s great personality and his enthusiasm with the Polish orchestra sustained the highest artistic level.
After Menuhin’s death the orchestra found it difficult to maintain its high position. Now is the time of Renaissance under José Cura. The ensemble has grown younger and larger and showed its vigour and skillful dynamics in Sunday's concert

Bartosz Kaminski, Gazeta Wyborcza 27.11.2001

After the concert of the Argentinean conductor and tenor

It was not in vein that after the worldwide TV broadcast of Verdi’s Traviata the reviewers praised the Argentinean tenor for his voice and acting talent. This second skill is what Cura uses with great success also as a conductor, thanks to what a concert with his participation is not only a feast for the soul but also an impressive spectacle.

Becoming famous as one of the most eminent tenors of his generation, in Poland Cura returned to conducting. He has led the orchestra before, during his vocal recitals, but concerts with Sinfonia Varsovia are in fact his debut in symphonic repertoire, with a renowned orchestra. It is an impressive debut.

Sinfonia Varsovia is one of the best orchestras in the country. They play excellent and they showed their high standard once again, on Saturday in Bydgoszcz. Now the additional attraction was also Jose Cura. Although he has been working with the Poles only for some months, they understand each other perfectly.

Describing the concert with Jose Cura, one cannot miss the whole non-musical layer – the theater, which is being created around the music by the Argentinean. The artist, who looks like an American movie star, wearing a black, aerial, long shirt, behaves himself too modest. On the one hand he drags the attention with all his personage and every gesture. On the other hand he cares for the orchestra all the time, showing at every step, that they are the most important.

When the composition finishes Cura hides somewhere among the musicians, just like he wishes to stress that they are the one, who deserve the applause the first. 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 leaves his conductor’s stand and seats at the stairs, behind the orchestra. The musicians play alone, without the conductor. When they finish, he applauds them together with the listeners.

Jose Cura’s concert, with no doubt is going to become history as one of the most important in this region, in that season

Wyborcza Gazeta, January 2002

José Cura, Conductor, Sinfornia Varsovia, Warsaw, 2001 Inagural Concert.

Note: This is a machine-based translation. We offer it only a a general guide but it should not be considered definitive.

José Cura: I'm a romantic guy

Gala

Zobacz Diashow

Somehow I arrived a bit too early for the appointment at the railway technical school. It was cold so I decided to enter the building. When I opened the door, I realized that I was standing in the middle of the orchestra. A young man with black hair, in jeans and a sexy T-shirt looked at me in surprise, smiled and continued to conduct. It was José Cura, one of the most famous tenors. A moment later, we sat in a small office that looked nothing like the wardrobe of the star of the largest operas in the world. José Cura did not complain. During the conversation I became convinced that he was the tenor of the 21st century and the sexiest opera lover. In addition, a loving father and husband. I love you, Mr. Cura.

Gala: What is it about the Sinfonia Varsovia orchestra that you prefer to conduct it rather than sing with it?

José Cura: I sing for money, I conduct because I love to do it. And the Polish orchestra is one of the greatest I've ever heard. They are technically great and have passion. Slavic energy.

I have conducted orchestras around the world. The English are perfect but their music lacks soul. The Italians are fiery, but not very disciplined. In the Polish band, every musician has a great personality, but at the same time they are disciplined and technically well prepared. It is not easy to manage a group of such individuals, but it is a great challenge.

Gala: For several years, the orchestra's conductor was Yehudi Menuhin. Will it be difficult to lead a symphony orchestra after such a great conductor as Lord Menuhin?

José Cura: I do not intend to compete with a man who was already a legend in his lifetime. That would be foolish. Yehudi will be one of the most important artists of all time. I want to continue working with the Sinfonia Varsovia orchestra from the place where Yehudi ended it.

Gala: Will your name help promote Sinfonia Varsovia?

José Cura: The Sinfonia is better known in the world than it is in Poland. It needs to be promoted in its own country. It is a scandal that such an excellent orchestra has no rehearsal room and so must get accommodations by renting space from the railway school.

Gala: You are the only one in the world who has simultaneously conducted and sang several times. As far as I know, no one repeated this feat?

José Cura: I happen to conduct and sing throughout entire concerts. It is a killer job. After the show I couldn't even sleep.

Gala: Why don't you like to compare with three famous tenors: Pavarotti, Domingo and Carreras. Is this the wrong company?

José Cura: You provoke me. I can't be seen the same as they do. First of all, I belong to a different generation. They are artists of my father’s age. I have been singing for only several years, they have sung for 30. They had time to become legends.

Gala: Do you find free time for your family life? After all, your wife and three children are waiting at your home in Madrid.

José Cura: I'll be returning soon. I have only just arrived in Poland. It would be more reasonable to stay here longer and sleep a few nights at the hotel. However, I gladly go back home to feel the moments as a father and husband. I miss my family. So sometimes my wife joins me. Now she also came to Poland.

Gala: I know that your professional calendar has dates to 2006. Doesn't your wife object to your working that much?

José Cura: She comes to most of my performances. I think of my loved ones all the time. I always send my wife flowers, even when I am far away. When I found a beautiful variety of orchids, my wife got them the next day. That's how I was programmed - I'm a romantic guy.

José Cura, Conductor, Sinfornia Varsovia, Warsaw, 2001 Inagural Concert.