Bravo Cura

Celebrating José Cura--Singer, Conductor, Director

 

 

News and Updates


 

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June 2019

 

Opera: The Cognitive Tool

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:

https://itunes.apple.com/…/sergei-rachmaninov-s…/1451963190…

 

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


 

English Version

(not a direct translation)

 

Celebrating the 4 legged Curas.......

 

 

March 2017

 

Now Available

 

 

 

 

 

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....

 

 

 

 

August 2017

 

 

 

 


 

Now Available!  José Cura on iTunes

 

 

February 2017

Official Website Update

 

 

 

Visit the revised website at

http://josecura.com/

 

 

 

Instagram Announcement

 

 

 

 

 

 

 

December 2016

 

 


 

 


 

August 2016

 

 

 

 

 

    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.

    Rest in Peace, Daniela Dessì

    (May 14, 1957 – August 20, 2016)

 

 

 

May 2016

 

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!

See you in October, dear FOK!

 

Websites:

José Cura Web Site

José Cura Official Facebook

FOK (web)

FOK FaceBook

 

Photo by Martin Klimanek

 

 

 

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.

What do you think?

Let me know more!!!

Yours

 José

From https://www.facebook.com/jose.cura.oficial

 

Historic!  First European Concert - Genoa, June 1991

What a difference a few years makes in a developing voice!  Thanks to Maestro Cura for sharing the first steps in the making of a legend.

 

https://vimeo.com/151985198

 

 

 

 

 

January 2016

 

Maestro Cura Returns to the Podium!

Prague Residency

 

 

 

 

 

Check out the Norma Video at José Cura's Vimeo Site

https://vimeo.com/151985200

 

 

 
 
 

December 2015

 

 

 José Cura (official)

January 15 at 11:48am ·

SO HERE WE ARE: JCTV IS ON!!!

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...

I hope you will love it as much as I do!

José

https://vimeo.com/josecuratv

 

 

 

https://vimeo.com/josecuratv

 

 

 

 

José Cura (official)

January 2 at 2:25pm ·

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.

José

 https://www.flickr.com/photos/josecuraphotography/albums

 

 

https://www.flickr.com/photos/josecuraphotography/albums

 

   

 

 

https://www.facebook.com/BeethovenAcademyOrchestra/

 

 

 

 

Tickets are now on sale:

http://www.pragueticketoffice.com/akcedetail.aspx?id=dagmar-peckova-jose-cura-prague-symphony-orchestra&prg=2016-02-10-19-30

 

 

 

A wonderful reminder of José Cura in Concert!

(video uploaded by José Cura)

 

 

 


 

 

 

July 2015

 

José Cura Educates his Critics

Please follow the discussion on José Cura's Facebook Page

 

In response to an inane, inaccurate review, Maestro Cura has elected to use facts to correct the record. 

 

Note:  these two entries appeared as automated translations on Maestro Cura's Web Page

 

 

Congratulations on Maestro José Cura's Latest Award!

 

 

 

http://www.sinmordaza.com/noticia/310889-el-senado-de-la-nacion-distingue-al-tenor-jose-cura.html

 

 

 

 

The Nation’s Senate Distinguishes Tenor José Cura

 [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. 

From José Cura's official website: 

 

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:

 

When:  11 May

Time:  2230 Budapest time

Where:  Duna TV

URL:  http://www.eloadas.tv/tv/live/duna-tv-1.htm

 

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

 

 


 

November 2014

 

 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!

 

 

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

For full info, see:  www.opera.mc

 


 

 

 

"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.

 

 

 


 

 

 January

29

Otello

State Opera

Prague

February

24

Otello (confirmed)

State Opera

Prague

 

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...

 

 

 

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Last Updated:  Sunday, April 30, 2023  © Copyright: Kira