An illuminating chat with famed Polish opera director Michal Znaniecki
Jerusalem Post
Basia Monka
June 6, 2019
[Excerpt]
I worked with many stars. Jose Cura, Sonya Yoncheva, Ermonela Jaho,
Luca Salsi or Polish singers Aleksandra Kurzak, Artur Rucinski, Piotr
Beczala, and many others. With each of them, the work is different.
But it is amazing how in such a short time we could build the sense
of understanding and sometimes chemistry.
Rachmaninov’s
Symphony No 2 – which recording is best?
Premiered in 1908, it was almost 70 years before Rachmaninov’s Second
Symphony came in from the cold
David Gutman
12 March 2015
A great performance should banish doubts, combining emotional and
structural inevitability with a clean text. For the first three
movements, the search feels over before it has begun. Kurt Sanderling’s
mono recording, expertly engineered in Berlin rather than Leningrad/St
Petersburg, makes no cuts in the middle movements and two tiny snips
in the first are easily missed. That its parting shot is scarcely
come scritto matters less when line and colour have been so magically
varied. Not that there is any lack of heft in the string desks of
the Leningrad Philharmonic. Sadly things deteriorate in the finale,
sedate even before the coup de grâce of a particularly substantial
cut (from 9'35"). Refusing to restore that, Sanderling
plumps perversely for the first-movement repeat in his sluggish
Philharmonia remake. No matter. His 1956 effort will always be a
thriller.
André Previn’s first LSO recording (RCA, 11/66) is generally forgotten.
Only after the orchestra’s 1971 visit to Russia and the Far East
were the last excisions dropped. Robert Hill, clarinettist on the
tour, was playing with the LPO by the time the LSO returned to the
recording studio in January 1973, appearing instead on Walter Weller’s
rival account. Both ensembles sound committed but Previn’s less
frenetic tempo elicits cleaner rhythmic definition in the scherzo,
whose big tune now comes twice with its dash of Hollywoodish portamento.
Under Previn everything feels that bit tighter. True, the recording’s
soft-grained, saturated string sound is too much for some tastes,
notwithstanding the band’s evident sincerity and refinement. Where
Hill had navigated the Adagio’s endless cantilena with ease, Jack
Brymer does so now with unparalleled subtlety. Rachmaninov’s unusually
detailed markings confirm that here at least he rejected plainer,
less inflected treatment. EMI’s sound engineering has dated a little
but the interpretation retains its legendary emotional charge. Previn’s
sonically superior retread for Telarc is slower, darker, almost
Brahmsian. Incidentally, the conductor did not always adopt a drastic
unmarked allargando into the work’s clinching lyrical climax. Might
his more urgent Salzburg Festival relay survive on tape?
[...]
More intriguing is what at first looks like a vanity project from
José Cura with Sinfonia Varsovia. In fact the tenor has his own
conception: he makes the repeat in the first movement, phrases discreetly
and pushes on as eagerly as Pletnev. The upfront sound, less than
natural and not always conducive to real pianissimo, does not fatally
detract from an anti-rhetorical reading that feels genuine. And,
unlike many full-time conductors, he neither compromises the first
movement’s final unison, nor inserts an extra cymbal crash to usher
in the finale’s lyrical climax. (2001 Sinf Varsovia / Cura
/ Avie AV0022 (2/03)) Also see iTunes....
February 2019
Cura's Latest iTune Release!
From José Cura:
Dear friends
To begin with the last news: in coincidence with my upcoming concert
with the Mulhouse Symphony Orchestra, in which I will perform my
Magnificat and Rachmaninov’s Second Symphony,
we have remastered my 2002 recording with Sinfonia Varsovia of this
amazing work by the Russian pianist and composer, Sergei Rachmaninov,
and it is now available in iTunes, directly by typing “José Cura
Sinfonia Varsovia” or simply by clicking this link:
But the news are even more exiting: in November 2019, gathering
forces with the Hungarian Radio Orchestra and Choirs and with a
selected group of international singers, we will record my Trypticum
of Oratorios: Ecce Homo. We will be working tight
during the following weeks to the recording, hoping to release it
for Christmas 2019. So, please, HOLD YOUR CHRISTMAS SHOPPING UNTIL
THE LAST MINUTE!!!
Rachmaninov’s reviews:
Concert, Warsaw:
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 Argentinean tenor, combined
with the ensemble's perfection, may bring many interesting artistic
results. Wprost, November 2001
Concert, Warsaw:
Sinfonia Varsovia played sensationally under Cura’s baton. The homogenous
strains of the entire assemble was combined with the clarity of
individual instruments' play. The polished solos, especially
of the clarinet and oboe deserved the highest praise. Trybuna,
November 2001
Concert, Warsaw:
Yesterday the Sinfonia Varsovia inaugurated its co-operation with
José Cura, the famous Argentinean tenor, in brilliant style.
Gazeta Wyborcza, 26 November 2001
Concert, Warsaw: Sinfonia Varsovia
played sensationally under Cura’s baton. Trybuna, 27 November
2001
Concert, Sinfonia Varsovia:
It would be difficult not to notice the excellent rapport that José
Cura has with the Polish orchestra. Under his baton the instrumentalists
play freely, there is this wonderful stress-free atmosphere.
Slowo Polskie, January 2002
Concert, Sinfonia Varsovia:
José Cura’s concert is no doubt going to go down as one of the most
important musical events in this region. Wyborcza Gazeta, January
2002
Concert, Vienna:
The evening at the Great Hall of the Vienna Konzerthaus showed Cura’s
Janus-faced talents. After the intermission, Cura proved his first
class, innate (conducting) abilities with a breathtaking interpretation
of Rachmaninov's vigorous ‘Symphony No. 2.’ To summarize this
enthusiastically received evening: a highly talented conductor who
also sings opera for his own pleasure. Die Press, December 2002
Concert, Vienna:
[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, Vienna:
José Cura had already led the Sinfonia Varsovia in a well-paced
overture of Verdi’s ‘I Vespri Siciliani’ and the prelude of Act
II of Giordano’s ‘Siberia’ in the first part, but after the interval
he provided the true surprise of the evening: he conducted Rachmaninov’s
‘Second Symphony’ very well, letting the music flow smoothly, phrasing
beautifully. This performance was a highly professional achievement
which made it clear why the Sinfonia Varsovia has named him principal
guest conductor (after all, no less than Yehudi Menuhin was his
predecessor). A performance which surpassed even CD versions under
Previn or Janssons [...] Der Neue Merker, January 2003
Concert, Poland:
In describing the concert with José Cura, one cannot ignore the
whole non-musical layer–the theater created around the music by
the Argentinean. On one hand he draws attention to himself with
his very presence and his every gesture. On the other hand, he cares
for the orchestra all the time, showing with every motion that they
are the most important element. Cura’s concert is no doubt going
to go down in as one of the most important musical events in this
region, in this season. Wyborcza Gazeta, January 2002
Concert, Sweden:
A tenor who can conduct: José Cura together with the Sinfonia Varsovia
presented classical music at its best. Cura’s work as a conductor
was brilliant —he had the Sinfonia Varsovia eating out of his hand.
The orchestra started off with Grieg's 'Peer Gynt Suite
No. 1.’ Rachmaninov's ‘Second Symphony' made up the second
part of the concert. It was a joy to see José Cura conducting this
piece. The baton was abandoned and instead, he conducted with his
whole body. With fingers and big sweeping arm movements, he danced
with the different instruments. Again the delighted audience gave
standing ovations. DD, July 2002
Concert, Sweden:
As a tenor, José Cura has a feeling and love for the climax of the
music. This he brings to the conductor's podium. He begins slow
music very slowly, soft music is very soft. Cura underlines the
rubati and changes in tempo. He has a sense of drama. When it is
already heavy, he pours on a little more. This worked remarkably
well with the orchestral pieces during the concert on Saturday evening.
In the waltz in "Anitra’s dans," Sinfonia Varsovia presented
itself as an exquisite symphony orchestra—exact with details and
radiance. The highlight of the evening was undoubtedly Cura’s moving
interpretation of Rachmaninov's powerful ‘Second Symphony.’
The strong adagio was a knock-out and the 1200-strong audience responded
with a long standing ovation. Falun Kuriren, 29 June 2002
Rachmaninov CD:
The first movement exposition bowls along compellingly enough to
merit its full repeat here; the scherzo is as bright and articulate
as the finale; and the now-clichéd love song contours of the slow
movement retain a certain freshness. BBC Music Magazine
Rachmaninov CD:
A performance you imagined but never dreamed you would experience:
fast and powerful, impressive, vivacious. Great Rachmaninov playing.
Classical Music Web
Rachmaninov CD:
A fresh and virile Rachmaninov reading from the tenor-turned-conductor
[who] has definite ideas about how the music should go. Gramophone
Rachmaninov CD:
The production convinces with its passionate, highly emotional expression,
its romantic exuberance, its diffuse, elevated idiom, and its directness
in the communication of feelings. In the conductor one senses the
“breath” of a singer in long musical phrases: ample and rich in
sound–like a pleasant ecstasy. Salzburger Nachrichten
Rachmaninov CD:
Cura, temporarily abandoning the stage, directs the Warsaw orchestra
in a fast and powerful performance. Cura’s grasp and focus is impressive;
the more so in a work that has its longueurs. This performance is
full of vivacious temperament and fairly flies along. Cura makes
many telling points along the way and the fact that his foot is
down on the gas pedal matters not a bit. Some might find it shockingly
quick but provided you do not insist on the viscously protracted
you may well find yourself wanting more Rachmaninov from Cura.
Rob Barnett
Rachmaninov CD:
[Cura knows] exactly what to do with the music, and he leads an
expertly shaped, urgently vital performance, as true to the spirit
of the music as to the letter of the score. Listen, for example,
to the sure way in which he builds the introduction, and to the
feeling of a true allegro with which he imbues the first movement
(with exposition repeat). His decision to take the second subject
in tempo and then relax and slow down only at the cadence theme
proves far more emotionally clinching than many a more indulgent
treatment (and it also makes the repeat sound inevitable rather
than redundant). When the big climax arrives, with crashing cymbals
and bass drum, he conveys the feeling of pent-up energy being unleashed
without needing to make a massive ritard that checks the music's
momentum. If you love this symphony, you will certainly have to
hear this surprising performance from a very unexpected source.
Classics Today
Rachmaninov CD:
One obviously need not worry about José Cura’s "old-age pension:"
wherever his dramatic tenor’s ambitions will lead him in the future,
he has begun in time to build a second career as a conductor, and
he doesn’t confine himself to opera. Cura’s two new releases with
Sinfonia Varsovia reinforce the impression that singing is his job
but conducting is his true passion. And the recordings leave no
doubt that he knows what he is doing. The combination of Slavic
melancholy and Latin- American temperament is definitely fertile.
Although the musicians bathe in emotion in Rachmaninov’s 'Second
Symphony,' the conductor always remains in control. Fono
Forum
July 2018
While we are sorry to learn
of the death of your friend and mentor, we hope to join
you in celebrating the life of a visionary who changed
the destiny of at least one and brought great joy to
many.
A memory is something no
one can ever steal. May Carlo live forever in
yours.
Event at the Argentine Embassy
- Budapest
Important Message
from José Cura!
September 2017
Concerning the Andrea Chénier at the Colón....
Google translate:
DESMENTIDA DE RUMORES
I am informed by various means that there is
a great concern in Buenos Aires that I would have
demanded, by CONTRACT, that the final duo of Andrea
Chenier be dropped half-tone.
I want to inform
by this means that such rumor is not true and that
the work will be sung in its original tone.
Please broadcast.
José Cura
A slightly different take on the same
sentiment....
Such sad news: Daniela Dessi--the brilliant soprano who worked with José many times through her long and distinguished career and always with elegance and exquisite vocalism--has died after a brief illness. Our sympathies to her family and all who loved her.
For those who are wondering about Forza del Destino in Wiesbaden, I am sorry to inform that I had to cancel my presence there.
The reason has nothing to do with artistic problem or a contractual disagreement. On the contrary, not only the theater has been very helpful and understanding --for what I am deeply thankful--, but also it is very sad for me having to lose the chance of singing with my stage brother, Carlos Alvarez. I have been looking forward to dress again don Álvaro's costume, but this is not going to happen this time.
I cannot yet tell the motivations behind the cancellations of not only Wiesbaden, but also everything else in May, so I beg for your understanding and respect.
Peace and Love!
February 2016
Yesterday's concert was one of those that will not be forgotten quickly, maybe never. Both choirs have sung like real devil/angels, Maria Bisso, soprano, casted a dreamt Virgin Mary and the orchestra delivered a stunning performance both in my Magnificat and in the huge Rachmaninov's Second Symphony. Thanks a lot to everybody involved in these two great performances, from the administration to the last of the artists on stage, passing through the caring help of the backstage crew!
This week on José Cura's Official
Facebook (FB) page, Maestro led a discussion of
the advantages and disadvantages of using Vimeo
to host his video archives over posting them on
FB. Friends and fans weighed in and in the
end, Maestro decided to continue to use Vimeo:
it consolidates the videos and allows for a higher
quality than available on FB.
More about the Vimeo thing...
All your answers confirm what I thought. THANKS
A LOT!
CONCLUSION: I will follow Anna Tralala's
advice of waiting long before taking a decision.
But it is more likely that the best way to solve
this is a combination of all your comments:
- Posting in Vimeo, then putting a link in FB
for you to know it has been posted, together
with a short video of the first minutes of what
you can find in Vimeo. In that way, you can
watch in FB what is about, and decide if it
worth the "effort" of going to Vimeo
for more. Also, when many videos will be posted,
you will have the chance of having all of them
together in one place, instead of having to
dig down in FB time line to find them.
Videos will start to be uploaded, slowly
but steadily. In the meanwhile, enjoy this "appetizer"
which, in a way, represents what's going
to be the spirit of JCTV: A RETROSPECTIVE
OF MY CAREER, A CHRONOLOGY OF MY DEVELOPMENT
AS AN ARTIST, FROM DAY ONE IN EUROPE ON...
Hello! Informing that the FLICKR tab is
on now. You can enjoy my book ESPONTANEAS
on line.
Pictures are, of course, in fairly low resolution
and (sorry) with a huge center watermark.
Unfortunately, it is the only way of surely
protecting copyright nowadays as it is not
enough anymore just with the metadata. But
if there is a consensus that adds many likes
on one file, I will post higher versions
of the chosen picture in our Facebook wall.
I suggest you go to the Flickr website (link
under) to enjoy a better watching experience.
[Note
that the following in a computer generated
translation and should be used as a guide
only!]
At the initiative of Senator Giustiniani,
the upper House will bestow the award “Merit
of Honor Senator Domingo Faustino Sarmiento”
to the Rosario artist in “recognition of
his long professional career in our country
and in the world.”
The
Rosario tenor, conductor, and composer José
Cura will receive the highest distinction
awarded by the National Senate on Monday,
6 July, at 1800 in a ceremony that will
take place in Salón Illia del Palacio Legislativo.
The initiative is promoted by the Socialist
Senator Rubén Giustiniani and stands among
its fundamental training and background.
José Cura is considered “one of the most
complete artists of the new generation,
cheered by the public foundations and acclaimed
by the critics wherever he performs, his
brilliant career elevating him the highest
levels of the international operatic circuit.”
José Cura, born in Rosario in 1962, his
musical training began early when he studied
guitar, conducting, composition, and singing,
then perfected the latter discipline in
the city of Buenos Aires.
From 1984 to 1988 works in one of the professional
chorus of the Teatro Colón. In 1991,
he moved to Europe where he continues to
refine his style of singing and conducts
keynote presentations and interpretations.
The Honorable Mention “Senator Domingo Faustino
Sarmiento” comes from the hear 2004 based
on a proposal by a senator, and it constitutes
the highest honor given by the Honorable
Senate of the Nation to national or legalized
individuals from culture, sports, professions,
or academics for entrepreneurial work to
improve the quality of life for their peers,
institutions, and communities.
In 2013, Giustiniani delivered this Honorable
Mention to the Veterans of the Malvinas
and to more than 800 firefighters and 100
fire departments in the provinces of Sante
Fe, Buenos Aires and Entre Rios for the
tragedy of Salta 2141 de Rosario.
In 2006, he also honored comedian and writer
Roberto Fontanarrosa.
This is a lovely sentiment from Zurich,
a venue we loved because it loved José
Cura; then they changed management
and direction and....sadness.
But if you have any doubts at all
about the man that is José Cura, then
read the words of this co-worker and
believe in the kindness of soul and
generosity of spirit of this great artist.
Zurich, we miss going to see José
Cura in your lovely opera house!
"Throw
back Wednesday . Uwe and I had one liners
in Pagliacci with the incredibly generous
and talented Jose Cura a few years back.
He always grabbed us at the curtain
call to join him for a bow. He is a
thrilling performer, both as a singer
and as an actor. He is also one of the
nicest, most generous stars I have met.
Miss him very much ... "— with
Christopher Hux, Uwe Kosser and José
Cura.
June
2015
Teatro Colón
Cura
on the Radio
Cura
on the Radio
In Memoriam
We send our sympathies
to the family of Sergio Renan
and to all his friend and fellow artists.
Today, one day before my departure to
Buenos Aires to start the rehearsals
of Cavalleria rusticana and Pagliacci,
Segio Renan, one of the most important
Argentinean directors has died. Aged
82, Sergio Renan leaves behind a legacy
of great movies (La tregua was the first
Argentinean film to be nominated for
an Oscar) and amazing theater productions.
I can count myself among the lucky ones
who have ever worked with Mr Renan as,
no less than 31 years ago, I did my
first operatic role ever (one single
phrase in Manon by Massenet), directed
by him at the Teatro Colón. RIP dear
Sergio.
Conducting Mahler's Second Symphony is an intellectual and spiritual experience comparable to conduct Bach's mass in Si minor or Beethoven's 9th Symphony: you are not the same after. That is why to remain "simple and humble" as my friend the great Italian conductor, Daniele Gatti said once talking about Mahler, is a very important attitude when having to perform such a master piece. I am so eagerly looking forward to it than I can hardly wait.
On top of that, to think that same evening we will be inaugurating the Ady Sari Festival makes me very proud: with the very sad international depression in everything that affects culture in particular and education in general, these kind of events gives me hope and makes me feel my job still worths the effort of not giving up! -- José Cura
It seems that Hungary TV will broadcast
the amazing crossover concert Maestro
José Cura and Andrea Mahó hosted in
February. We think (but aren't
sure) it will be streamed over the internet.
Just in case it is, here's the specifics:
Dare we
hope for a DVD to someday become available?
Fingers crossed......
Thanks so
much to the José Cura Hungarian Fan
Club, and especially
Mihályfi Gabi, for this inforamtion!
April
2015
Artist
in Residence
I AM GLAD TO INFORM YOU THAT I HAVE JUST SIGNED A THREE YEARS CONTRACT WITH THE PRAGUE SYMPHONY ORCHESTRA AS RESIDENT ARTIST.
As a Resident Artist, my commitment with the orchestra is to do 3 concerts a year: one as singer of non operatic repertoire (chamber, etc), and two as conductor of symphonic programs, included one Czech premiere a year of one of my compositions.
I am really looking forward to 3 years of great music making!!!
Only one thing should be clear as I don't want anybody to feel betrayed: out of THREE commitments a year, only ONE is singing and not even opera. The rest of them are as a composer and a conductor, plus extraordinary activities as a pedagogue. I hope this makes no difference for you...
February
2015
Visit José Cura's
Official Web Site
Click on the photo.....
I take
the chance offered by Monica Menconi's
kind comment to my post about the Budapest
concert, to stop and meditate.
Monica
says: Beautiful words because they show
you more open and vulnerable, and it is
not bad because you have always caused a
different impression. It should always be
like this, no? But I know, it is not always
possible.
This is
a very interesting comment as it applies
to all of us. In my experience of a man
of 52 years of age, which are not 80, but
still they are not few, I have learned that
each of us (me the first), see the others
through the glass of his own degree of personal
fulfillment. The "insecure ones"
see those who are not as "arrogant",
while those who are "confident"
see those who are "solid" not
only as a guaranty of professionalism, but
as the "person they would like to have
around in case of troubles".
How many
times we have given opinions of someone
we don't know (but we think we do),
saying "he is this or that"? We
do it unconsciously (almost), using as "unit
to measure" our own "pending matters
with life". Normal and human; sweet
even, if not because one thing is to think
something and keep it for yourself and another
one (it happens often) is to shout our opinion
out from the roof tops.
This is
not the case, don't get me wrong (on
the contrary, I am flattered by Monica's
words), but how much damage baseless opinions
do, when we spread them out shamelessly?
The famous "feathers dropped to the
wind" of the parable which, once disseminated,
no one can manage to gather back...
"Open
and Vulnerable" are not synonyms to "Improvised
and Unprotected...". In my work, I
have always been the first. Never the second.
A kiss
to everyone!
(Translations
to as many languages as possible are very
much appreciated. THANK YOU)
Visit José Cura's
Official Web Site
Click on the photo.....
Leaving Budapest after
such a beautiful concert last night that
some people say it was one of the best ever
since I come to Budapest! They exaggerate,
of course, as I recall many great concerts
here in the near past, but I understand
why th[e]y say it: it is not so usual to
see me on stage happy and relaxed, just
enjoying the fact of doing music without
secondary worries. And the reason is simple:
I have rarely been surrounded by such amount
of musicianship, talent, genius, all on
one stage at the same time. The rock band,
the conductor, the fabulous orchestra and
my sweet stage partner, Andrea, all of them
made for a great performance, backing up
any and all of my actions with no fear.
No matter if I was changing the "script"
in the last minute to adapt to the "feeling"
of the public, none of them doubted a second
to react and follow.
Pure musical instinct
as in the good old times of my stage life,
when talent counted more than PR... I simply
loved it! This concert, together with the
2 performances of Otello at the Hungarian
State Opera last week, will stay in my memories
as one of the most rewarding periods in
a long time. Thanks to the Hungarian audience
and a special thank you to the super Hungarian
musicians! Hope to see you soon... LOVE!
January
2015
José Cura (official)
The new starts with very sad news for me: my singing teacher, he who in the late eighties gave me the basis of my singing technique, for free because I couldn't pay him at that early stage of my career, has just died.
Horacio Amauri was a dear person, with a heart bigger than his large body (we all lovingly knew him as "el gordo", and with a special talent to find exactly what a student needed in order to improve: a rare, almost unique, quality to deal with such an intangible thing as the voice is.
Horacio believed in my singing aptitudes when nobody gave a penny for me as a singer. He gave me lessons 3 and 4 times a week during 2 years and never accepted money from me. When once I said to him that a felt bad not being able to pay him, he replied "a voice like yours comes once every 50 years and I will not be the idiot to let you go for some dirty coins".
Rest in peace, my beloved friend!
November 2014
23 November 2014
[Excerpt]
World-renowned
tenor José Cura, regarded as one of
the greatest contemporary voices, returns
to Poland after an absence of a few
year to perform for a Polish audience
at Domu Muzyki
i Tańca in Zabrze.
Arias, operettas, songs and instrumental
pieces were heard on a Zabrze stage
On Saturday evening, 22 November.
José Cura was responsible for them,
conducting the orchestra for most of
the evening for
tenor Bogusław Mórka and singer
Agnieszka Kozłowska. The
soloists were accompanied by
Cracow Event Orchestra.
Music lovers
listened to famous opera arias, including
“Libiamo’
from the opera La Traviata
by Giuseppe Verdi, ‘Aria of Cavaradossi’
from Tosca by Giacomo
Puccini, and ‘Waltz Juliet’ ('Je
veux vivre' )
from the opera Romeo and Juliet
by Charles Gounod. The soloists
also performed songs from the operetta
Giuditta by Franz Lehar
and Neapolitan and Lain songs, among
others, ‘O solo mio’ and ‘Besame mucho.’
The orchestra
also played a couple of tunes (some
under the director of Sebastian
Perłowskiego), including the overture
from the opera La forza del destino
by Verdi and Symphonic Tango
by Astor Piazzolla. José Cura
mentioned during the concert that the
latter was being performed in Poland
for the first time.
José Cura
was born in Argentina. For years,
he has performed the lead role in the
most important theaters and opera houses
in the world, although his career began
with conducting, which he continues
today. In Poland, Cura gained
popularity with the release of the album
Song of Love, which he recorded with
soprano Ewa
Malas-Godlewska. He was
the principal guest conductor of the
Polish orchestra Sinfonia Varsovia from
2001 through 2004.
José Cura Recital at the Monte-Carlo Opera
Argentina will be in the spotlight at an
evening performance on 2 December 2014
Following
the
success
of Stiffelio
in 2013,
José
Cura
is returning
to the
stage
of the
Monte-Carlo
Opera
for
a unique
evening
concert.
As well
as portraying
the
relationship
between
the
poet
Pablo
Neruda
and
Matilde
Urrutia,
the
love
of [Neruda's]
life,
José
Cura
offers
a poetic
exploration
of Argentinean
music.
José
Cura
Evening
at the
Monte-Carlo
Opera
Tuesday 2 December 2014 Piano Kristin Okerlund Narrator Anthéa Sogno
"I am a very pensive person.
Some people think singers are like the
characters they portrays on stage. That
happens to many persons whose career,
whose work, is based on representing
somebody else. (…) I am a very pensive
and peaceful person. Today I’m turning
51. When you approach a certain age
at which you are not old, but not young
anymore, to be pensive, to have wisdom
is one of the most beautiful things
to achieve." José Cura
José Cura to Perform Otello at the State Opera
Prague Post
01 November 2014
Famed
opera star will make two appearances in the Verdi
opera
One of the most sought after contemporary tenors
will perform in a production of the State Opera
for the first time. José Cura accepted the offer
from the director of the National Theatre Jan
Burian and director of the National Theatre
Opera and the State Opera Silvie Hroncová to
perform the title role of Giuseppe Verdi's
opera Otello on Thursday, Jan. 29, and
Tuesday, Feb.24, 2015.
The
opera will be conducted by Music Director of
the State Opera Martin Leginus. In the first
cast, the role of Desdemona will be sung by
Eva Hornyáková and Jago by Dalibor Jenis. Pavla
Vykopalová and Ivan Kusnjer will take over these
roles in the following performance in February.
With this, the National Theatre is fulfilling
its promise to offer its subscribers the greatest
experiences including stars of international
reputation. Ticket sales for both performances
are now on sale. Ticket prices range from Kč
690–1,950.
One of the last performances of the famous tenor
and conductor includes the character Dick Johnson
at the Vienna State Opera in September this
year. His greatest success, however, was with
Otello, where in the past two years he
has sang in Buenos Aires, Vienna, at the Metropolitan
Opera in New York under the baton of Alain Martinoglu
and the Deutsche Oper Berlin with conductor
Donald Runnicles and direction by Andreas Kriegenburg.
During the beginning of this season, the State
Opera introduced several debuts in the leading
roles of its repertory productions: Yukiko Šrejmová
Kinjo as Gilda in Verdi's Rigoletto,
and Viktor Schirrmacher appeared as the Duke
in the same production. Eva Hornyáková shone
as Violetta Valéry in Verdi's La traviata,
the role of Rusalka starred Alžběta Poláčková,
the new Rosina in The Barber of Seville
was performed by Michaela Kapustová and Christina
Vasileva will return to the role of Leonora
after three years. The premiere of Strauss'
Salome last week has also received extraordinary
reviews with Gun-Brit Barkmin performing the
title role, musical preparation by Heiko Matthias
Förster and directed by Mariusz Treliński.
The performance of José Cura in the production
of Giuseppe Verdi's Otello, directed by
Dominic Neuner will take place in Prague thanks
to the support of Bohemian Heritage Fund.
I am glad to confirm the Otello performances in Prague the 29th January and the 24th February 2015. Although I have performed with the State Opera in tour (Aida in Japan 2001), it is the first time I will perform a full opera in Prague.
Warning: I know that, even if my presence has only now been confirmed, the box office is quickly running out tickets so, if ever you are planning to come, don't wait a minute or you'll stay out...