Theater:

Gran Teatro del Liceu, Barcelona

La Rambla, 51-59
08002 Barcelona
Tel. 93 485 99 00
Fax 93 485 99 18 
 

Website:  http://www.liceubarcelona.cat/en.html

Promo Video:

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Note:  This is a machine-based translation.

José Cura uses language with precision and purpose;  the computer does not.  

We offer it only a a general guide to the conversation and the ideas exchanged but the following should not be considered definitive.

 

"My Otello has gained physical sincerity with age"

José Cura, tenor, stars in 'Otello' at the Liceu

La Vanguardia

15 Jan 2016

 The Argentine-born tenor reprises the role of the moor of Venice in the version of Verdi opera which opens January 21 at the Teatre del Liceu.

José Cura returns, and with him comes all the strength and intensity with which he gives life to operatic characters.  Especially in verismo. The Liceu once more opens its doors to the Argentine tenor (nationalized Spanish, as he has lived for 25 years in Europe) as a protagonist of this Verdi Otello premiering January 21. Since the first performance as Samson in 2001, Cura is convinced that the feeling of "chemistry" with the Liceu is total. And he expects that his return, with the new direction of the theatre, is "the beginning of a more intense relationship". For now, he is revisiting one of the most successful roles in his career. And he does so in a production from the Deutsche Oper Berlin which recreates the war context found in Shakespeare text by putting the focus on a refugee camp. Cure answered questions by mail.

Are you jealous? Can you understand the folly of Otello?

Jealousy is born of insecurity and applies not only to relationships. The fragility of the situation of Otello depends not only on jealousy, but a series of very complex factors and worrying force: the drama of the "foreigner" accepted, used and then discarded, no less the serious drama of xenophobia, so sadly current, or gender-based violence, to name a few. By to answer you: Yes, I understand it because it's my job. No, I don’t relate to him.

But do you empathize with the characters to interpret them as some actors in Hollywood?

If we define "empathize" as being "tuned to emotions to another", the answer is yes. I think that it is the obligation of the actor not to be afraid to manipulate both the beauty a character and his "dark" side. But with gloves! Not for "empathize" it must end in the Madhouse.

How face the revisit that role? You like to go to the source, to Shakespeare?

I've been performing and revisiting Otello for nearly twenty years... It is, fortunately, a never ending story... I admit I drank in Shakespeare from the first day I started to study the work, but without neglecting Boito, who, admittedly, did such a masterful job of synthesis that some scholars suggest his text, at times, exceeds the Bard.

What do you now offer regarding Otello over what you did a decade ago in the Liceu? Does it upset you to return to roles which were so bright in the past?

Within the leeway given to me in this production, my Otello today has a physical sincerity that I did not have when I was younger. Recently, a critic noted the change in my body language. I liked to be noticed for something so important. A singer's voice changes daily, let alone a distance of 10 years times! According to taste, for better or for worse. It is up to the audience knowledge to enjoy the serenity of the expressive maturity of the artist, which, like the maturity of man in general, tends to be indirectly proportional to its physical beauty.

What of the national benchmark which is Plácido Domingo in Otello in his facet as baritone?

In a world increasingly neurotic, one which seeks to control everything and everyone, we forget that it is a right of the artist to express himself as he deems appropriate at a time of his life, claiming freedom of expression. Society should not try to "control" this right, and less with the claim of catalogue. You can refuse to follow a change, but you cannot deny that such change is their right.

Have you changed your interests in opera? What are the most enjoyable aspects of your art now?

My artistic interests in general have not changed. If so, the serenity that comes from knowing that you can live doing what you like, that I can get back to my roots as a musician, to composition and conducting, in addition to be developing with satisfaction the facet of stage director and set designer, in which I’ve been for almost ten years since my first production in Croatia in 2007 until today, when I have just released my production of La Bohème in Stockholm with success.

And do plan to continue with it is alternative career of reggista/director?

I hope so, health and interest by "industry". Years pass and regardless of the vocal ability, which takes its natural course, I feel "uncomfortable" as an actor every time I am asked to embody the roles of the "little boy" which are identify with the tenor. At 53, and hopefully adding, to claim to have the age physical and intellectual age of a Rodolfo, a Manrico, a De Grieux, to name a few, verges on caricature. Today, more than ever, I identify with Othello, with Canio, with Grimes, but even these are roles in which the tyranny of time is imposed and, sooner or later, have to leave for reasons of strength. By then, which I hope is not very soon, I hope to have a career as a renowned conductor and which enjoy as much as the singer, as a happy alternative.

How about the mounting of the Deutsche Oper Berlin, where he has already participated?

I may or may not agree with Andreas Kriegenburg, but theatrically it is certain the drama works.

What is your opinion of the current opera scene? Are we conservatives?

The reason for keeping rooms open is interpretation, understood as a "whole". Being conservative is understandable when it comes to rebelling against the nonsense that usually reigns, but that can be dangerous because to repeat what has already been done - to avoid friction- carries the risk of killing the raison d ' être of our scenarios. Is true that attempting it results in mistakes, but not doing means you die of stagnation. Do it right, correct. This is the ideal formula.

Computer-based   Translation

This is a general guide to the conversation

 

 

 

 

This translation  should not be considered definitive