José Cura

Source: Wikipedia, the free encyclopedia.

In this
Spanish name, the first or paternal surname
is Cura and the second or maternal family name is Gómez.
José Cura
Universidad Nacional de Rosario[1]
Instituto Superior de Arte at the Teatro Colón[2]
Occupation(s)Singer, conductor, director, scenographer, photographer
Years active1992–present
Spouse
Silvia Ibarra
​
(m. 1985)​
[3]
Children3, including Ben

José Luis Victor Cura Gómez (born 5 December 1962) is an Argentine

Samson et Dalila, Canio in Ruggero Leoncavallo's Pagliacci, Stiffelio in Giuseppe Verdi's Stiffelio
and many others.

2007 saw the world-premiere of La Commedia è finita. The show, designed and directed by José Cura – in which he also sang the lead role of Canio – marked the beginning of his career as a director and scenographer. He followed this with his productions of

Cavalleria Rusticana and Pagliacci at the Opéra Royal de Wallonie,[9]
both in 2012 – singing the roles of Turiddu and Canio in both as well.

Early life

José Cura was born in Rosario, Argentina. At the age of 12 he was playing guitar under Juan di Lorenzo's guidance; at 15 he made his debut as a choral director; and at 16 he began studies in composition with Carlos Castro and piano with Zulma Cabrera.[10][11]

In 1982, he entered the Music School at the

Universidad Nacional de Rosario to continue his musical education; the following year he became assistant conductor of the university choir. At 21, he won a grant to study at the Teatro Colón
in Buenos Aires, where he remained for six months.

Cura continued to sing in the opera chorus while focusing on composition and conducting until 1988, when he began working with Horacio Amauri to develop his singing technique.

José Cura during 1994's Operalia competition

Determined to make a career in opera, José Cura moved to Italy in 1991 and began voice training with Vittorio Terranova. In February 1992 he made his debut in Verona as the father in

Verdi's Simon Boccanegra
.

Career as opera singer

José Cura as Jan in Signorina Julia, 1993

Cura's first starring role came in 1993 in Signorina Julia by Bibalo at the Teatro Lirico Giuseppe Verdi in Trieste, Italy.

He began 1994 with a series of highly successful debuts: Ismaele in

La Rondine (Turin) and Roberto in the same composer's rarely performed first opera, Le Villi
(Martina Franca); the latter performance is particularly noteworthy for providing Cura's first complete opera recording.

In the same year Cura won the first prize of Plácido Domingo's Operalia competition.[12]

In November, he made his US debut in Chicago as Loris Ipanov in Giordano's Fedora, opposite Mirella Freni; he subsequently reprised the role in Trieste in 1995, in London in 1996, in Vienna in 1997 and 1998, and in Tokyo, Zurich and Lecce, Italy, in 1998.

1995–2000

He continued adding roles to his expanding repertoire in 1995. In February, he returned to Italy to star as Paolo il Bello in the Palermo production of

Zandonai's Francesca da Rimini. In June Cura debuted in London's Royal Opera House, Covent Garden, in the title role of Stiffelio
on the opening night of the Verdi Festival.

In 1996, Cura built upon his burgeoning reputation and solidified his position as one of the most promising tenors of his generation.

Samson et Dalila, a role for which he has received international acclaim.[14][15] For his debuts in Los Angeles and San Francisco, Cura added two roles to his repertoire, Pollione in Bellini's Norma and Don José in Carmen
.

Other key roles included

Puccini segment of the BBC
"Great Composers" documentary, telecast in December 1997.

Cura's debut at Milan's

La Forza del Destino, both conducted by Riccardo Muti
.

In 1997, José Cura sang duets with the famous classical crossover soprano Sarah Brightman, singing Just Show Me How to Love You, and There For Me, songs released in her album Time to Say Goodbye.

With a growing international reputation and increased critical interest,

Verdi's Otello, telecast live on Italian television. Under the baton of Claudio Abbado[17] La Nazione ran the headline "José Cura: a new Otello is born!"[18] Opera houses around the world agreed, offering Cura the opportunity to take his Moor to London, Washington, Madrid, Trieste, Munich, Buenos Aires, Nice, Paris, Vienna, Zurich, Warsaw, Tokyo, and Florence – making him one of the most eagerly sought-after Otellos of his generation.[19][20]

José Cura as Otello at the Teatro Colón in 1999

Following his

Arena di Verona in summer of 1997 in Carmen
. He headlined in a Night of the Stars Gala in London and concluded the year with a series of sensational concerts in Germany.

It was followed in 1998 when he first appeared in Aida at the inaugural season of the New Imperial Theatre in Tokyo.[21]

Firmly entrenched as one of the great modern voices,

Cavalleria Rusticana as only the second tenor in the Met's history to make his debut on opening night (the other having been Caruso in 1903)[25] and at Madrid's Teatro Real in Otello conducted by his long-time friend and mentor, Maestro Luis Antonio García Navarro
.

2000–2005

José Cura as Manrico in Il Trovatore at the Teatro Real of Madrid in 2000

In 2000, José Cura sang Otello in Washington and starred as Alfredo in La Traviata a Paris a groundbreaking production staged in authentic Paris settings while being telecast live around the world.

In 2001 José Cura appeared in numerous special performances and opera productions honoring the Centenary of

Verdi
arias and duets.

Cura continued his stellar run of

Pavilhao Atlantico in Lisbon, and the Kremlin
in Moscow.

Operas performed in early 2003 included

Puccini's fantasy opera, Turandot.[26]

Cura began the 2003/2004 with his debut at the

La Traviata
, both in Zurich.

In December and January (2004) he made his return to the US, starring in the

Madame Butterfly
in Warsaw.

José Cura has been a strong advocate for making classical music accessible to the masses, as demonstrated in his participation in two spectacular events in early 2004. In February, Maestro Cura took up the baton to conduct

Verdi's Un ballo in maschera in Piacenza, Italy, in a unique, modern production held in a vast public exhibition hall, designed to open the performance to the widest possible audience. In May, he traveled to Seoul for several performances of Carmen, an extravagant experiment in bringing opera to the people of Asia. Held in an outdoor arena seating 37,000 spectators and performed on a 120-meter long stage outfitted with a video screen the size of a football field. Cura finished the 2003/2004 opera season with Otello in Hamburg and Carmen
in Warsaw.

In September 2004, José Cura returned to Zurich for a revival of Otello, followed by the house premiere of Stiffelio in the title role. Cura returned to Lisbon at the end of October to headline a special evening of music for the Associacao Portuguesa Contra a Leucemia. With his eclectic mix of American Spirituals, operatic favorites and Argentine songs, as well as his conducting of

Rachmaninov, and Borodin
. Switching hats for the second act, Cura became the consummate pop star, sharing the stage with some of the nation's most recognizable singers in duets of familiar Portuguese songs.

On 2 November he hosted the night of ten tenors at the Royal Festival Hall in London. Cura did double-duty as tenor and maestro: he delivered some of opera's most well-known arias, then he stepped onto the podium to display not only his conducting skills but also his innate sensitivity to the needs of his nine young soloists.[27]

2005–2010

Cura opened the calendar year of 2005 with a concert-version of

Samson et Dalila at the Metropolitan Opera in New York City.[29]
In spring 2005, Cura focused his considerable talents on portraying Canio in Berlin and Piacenza in two very different productions. In June, Cura returned to Verona as Radames for two performances of
Arena di Verona
.

José Cura as Calaf in Turandot at the Arena di Verona in 2005

Cura's first concert of 2005 featured the star soprano Anna Netrebko; both performed before a crowd of 8,000 at the Cologne arena (Lanxess Arena).[31] In July, Cura took part in the opening ceremonies of the World Games in Duisburg, Germany.[32]

Cura started the 2005/2006 season in London starring as

Verdi's masterpiece, Otello, after an eighteen-year absence.[36][37]

Arena di Verona

After reprising his Alfredo in

Madame Butterfly at the Vienna State Opera. In June, Cura returned to Japan to reprise the lead role in Andrea Chénier with the Teatro Comunale di Bologna. His performance was greeted with enthusiastic applause led by the Japanese Prime Minister, Junichiro Koizumi, a noted opera lover.[38][39]
Cura's summer took an unexpected turn when he arrived in Verona for the first of several performances as Canio in
La fanciulla del west. In October, Cura made a return to Turin to star as Calaf in an innovative staging of Turandot
.

Cura returned to the United States at the end of October for a series of performances at the Metropolitan Opera and two very different concerts. He first starred as Mario Cavaradossi in the lavish Franco Zeffirelli production of Tosca.[40][41] Then, Cura found time during his brief stay in New York to fly to Miami as special guest of the Orquestra de São Paulo for a night of Latin-accented music. Cura also took part in the Richard Tucker Music Foundation Gala, a prestigious annual event that features outstanding opera singers performing arias and scenes.[42] In a rare treat for fans of Verdi's

Don Carlo
to Vienna, where he shared the stage with some of today's most distinguished performers.

Cura emerged from a brief holiday for three opera galas and a reprise of his Pagliacci in Berlin. In Zurich, he closed out the year with his Turandot; in Palermo, he presented his heroic Mario Cavaradossi in a controversial Tosca; and in Karlsruhe, he graciously filled in at the last minute for a colleague in a production of the same opera before returning to Berlin to perform his Canio. Following a fund-raising gala in Lisbon for the Associacao Portuguesa contra a Leucemia, Cura offered a one-night-only presentation of his acclaimed Otello in Mannheim before traveling to Shanghai with the Zurich Opera for Turandot and a special Valentine's Day orchestral concert. Cura also took time out to hold an extensive master class for a select group of international singers and a follow-up concert in Devon in his role of Patron to the New Devon Opera. In June, Cura pulled off an exciting tour de force when he returned to Rijeka, Croatia, wearing a coat of many fabrics—director, set designer and playwright in his production of La Commedia è finita.

What had been planned as a summer sabbatical with his family turned into a triumphant professional return to Argentina in June.

Samson et Dalila,[48] an unforgettable, intimate concert where he unveiled new compositions based on the poetry of Pablo Neruda,[49]
and ended with a master class held for aspiring local singers.

José Cura during a concert performance

José Cura ended the hot summer months in Cortona, Italy, with two concerts at the prestigious

Bizet
. He followed with a concert performance in Halle, sharing the stage once more with soprano Anna Netrebko in an evening of arias and duets in front of a sold-out audience of over 8,000.[51]

José Cura on stage as Le Cid in 2008, the day his father died

Cura then returned to Barcelona for a month-long run of Andrea Chénier at the Liceu. Following a gala concert in Lisbon once more in support of Associacao Portuguesa Contra a Leucemia, Cura traveled to Cologne to headline in the famous verismo double-bill of Cav/Pag. Between performances in Cologne, Cura presented two concerts in Eindhoven (the second added by popular demand).

In January 2008 José Cura offered opera lovers a wonderful gift when he starred in

Massenet's rarely performed Le Cid at the Zurich opera – his father, Oscar Cura, had died on the morning of the premiere back in his native Argentina, and despite the tremendous weight of the personal tragedy, the tenor still performed that night, to solidary tears and a standing ovation from all those present that night.[52][53]
Cura dedicated the performance to his father, and flew to his native town of Rosario, Argentina, the next day.

In early February, Cura took time out from his run of

Deutsche Oper in Berlin in March, Cura made his much anticipated return the United States in Pagliacci at the San Diego Opera – the first time he had performed Canio in North America.[54][55][56][57]
Returning to Europe, Cura sang Otello at the Staatsoper in Hannover for a single gala performance. He followed that performance with a gala concert in Düsseldorf and offered his Cavaradossi in Tosca in Karlsruhe. The month of June found that Cura was firmly entrenched in Italian theater, returning to Bologna for one of his signature roles, Samson, and then on to Turin for
Puccini's birth.[58]

José Cura as Samson in Karlsruhe in 2010

Cura rounded up the summer months with a brief return to Zurich for two performances of

Samson et Dalila
in Santander, Spain.

The start of the 2008/2009 season saw Cura engaged in a labor of love: presenting a master class for the New Devon Opera, a charity for which he is Patron. In mid-September, he returned to the

La Fanciulla del West
. Cura followed his run of Fanciulla performances with two notable concerts, one in Zagreb and the second in Nancy. The latter performance came a year after his celebrated master class for Nancy Opera Passion[62] and in advance of his 2010 masterclass in the same city.

The Auditorio de Tenerife hosted Cura in November when he brought his Otello to the Atlantic Island for the fall festival. He then closed the month of November in Mannheim starring in the verismo twins. Cura sang his first Calaf in Verona in 2003; nearly six years later, he brought his dangerous and controversial prince to Covent Garden.[63][64]

Cura continued the 2008/2009 season with symphonic concerts in Bologna, and Budapest,

Cavalleria Rusticana and Pagliacci at the Met in New York, and Turandot, Cavalleria rusticana and Pagliacci
in Zurich.

2010–present

Cura continues to tour concert halls and opera houses around the world, performing his signature roles of Otello, Samson, Canio, Turiddu, Don José, Stiffelio, Cavaradossi, Dick Johnson, Calaf, Edgar etc. – debuting in

Zurich Opera House
in 2010.

He took his Otello to the Met in 2013,[4][20] not before saving the last performance of Carmen at the same opera house, a favour which he had been asked to do the very moment he landed in New York, jet-lagged, from Europe. Without rehearsals and very little sleep, Cura performed the role of Don José.[65][66]

His performance of Otello at the Salzburg Easter festival in 2016 was in the opinion Giacomo Parini of the Milano Gazzetto to be "one of the most vulgar performances of Otello in memory. Verdi and all proponents of beautiful singing are rolling in their graves."

Career as conductor

José Cura conducting Bach's Mass in B minor in 2009
José Cura conducting Bach's Mass in B Minor in 2009

Originally trained as an orchestral conductor, his vocal talents were unrecognised until 1988.

He became the first artist to sing and conduct simultaneously (both in concert and on recordings) and the first to combine singing with symphonic works in a ‘half and half’ concert format.

Cura made operatic history when he first conducted

Cavalleria Rusticana and then stepped on stage after intermission to sing Canio in Pagliacci at the Hamburg State Opera in February 2003.[67]

He accepted a three-year assignment as principal guest conductor of Sinfonia Varsovia, a position previously held by the late Lord Yehudi Menuhin, in early 2001. Cura inaugurated his partnership with a concert in Warsaw in November.[68]

Cura subsequently led his orchestra in a series of highly acclaimed performances of such symphonic works as

Rachmaninov
's Symphony No. 2 and Aurora, a collection of opera arias, feature Cura conducting the Polish ensemble. A favorite guest conductor of orchestras across Europe, he conducted a New Year's concert in Budapest to bring the year to a close.

José Cura conducting the Sinfonia Varsovia in 2002

As a concert performer, José Cura has successfully integrated the roles of singer and conductor as demonstrated in his performance in the

Rachmaninov
Symphony No. 2.

On 18 September he conducted Sinfonia Varsovia in

Tchaikovsky's 5th Symphony.[71]

In October 2003, he returned to Prague for a standing-room-only concert featuring an inspired selection of

Puccini arias coupled with the 9th Symphony from the Czech Republic's most famous composer, Antonín Dvořák
. Cura's final public concert of the year was in Budapest, during which the maestro led the Matàv Hungarian Symphony Orchestra in a rendition of Dvořák's 9th-recorded live and released by Cura's Cuibar label.

In April 2004, Cura conducted Madama Butterfly in Warsaw.

Maestro Cura also proved his versatility on the podium throughout the year 2006. In June, Cura returned to his roots to conduct two sacred works at the Miskolci Opera Fesztival in Hungary. The program, which opened with the somber beauty of

Dvořák (Hymn to the Moon from Rusalka
and the final movement from Symphony No. 9).

Cura traveled to Italy in December for a month-long immersion in conducting, interrupted only when he raised his voice in support of charity during the annual Muscular Dystrophy Telethon. Concerts with the L'orchestra della Fondazione

Verdi
's I vespri Siciliani.

Directing and scenography

José Cura directed and designed the sets of La Commedia è finita in 2007.

In May 2008, he produced Un ballo in maschera for the Köln Staatstheater.

He later followed suit in his production of

Cavalleria Rusticana and Pagliacci at the Opéra Royal de Wallonie
, both in 2012.

In 2012, he was the first artist to have designed the scenography and costumes as well as directing and conducting an opera. This was

Opéra de Lorraine
, in Nancy, France.

Photography

In 2008, he published his first photography book Espontáneas (

ISBN 3-85881-193-9) followed by an exhibition at the Tuscan Sun Festival in Cortona
, Italy.

Principal recordings

Cura's discography and filmography covers his main repertoire as well as many concert performances and conducting works.

In 2002 he created Cuibar Phono Video (CPV). The same year, CPV released Rachmaninoff’s Symphony No. 2 with Sinfonia Varsovia, which Cura conducted. He continues to release his works through his company at present.

Discography

Year Recording Company
1994 Le Villi Nuova era
1996 Iris BMG – Ricordi
1997 Anhelo Erato
1997 Puccini Arias Erato
1998 Fedora ECA
1998 Samson et Dalila Erato
1999 Verismo Erato
2000 Pagliacci Decca
2000 Verismo Erato
2000 La Traviata à Paris Teldec
2000 Manon Lescaut Deutsche Grammophon
2001 Bravo Cura Tour Collection Erato
2002 Artist Portrait Warner Classics
2002 Boleros Warner Classics
2002 Aurora CPV
2002 Rachmaninov Symphony N.2 in E minor CPV
2003 Dvořák Love Songs / Symphony N.9 CPV

Filmography

Year Recording Company
1999 Great Composers BBC
1999 In Passione Domini RAI
2000 Puccini: Il Trittico BMG – Ricordi
2001 A Passion for Verdi RM Associates
2001 Tosca Kultur
2001 Verdi Gala Euro Arts
2002 Il Trovatore BBC – Opus Arte
2004 Verdi Gala Dynamic
2005 Manon Lescaut TDK
2006 Andrea Chénier Rai Trade
2007 La Traviata à Paris RAI Cinema
2007 Otello Opus Arte
2008 José Cura in Concert Budapest 2000 Cuibar – Bravissimo
2009 Edgar Arthaus – RAI Trade
2010 Cavalleria/Pagliacci SWR – Arte
2012 Samson et Dalila Cuibar – Arthaus

Prizes and awards

Year Prize/Award Authority
1994 1st Prize[12]
Operalia International Opera Competition
1996 Abbiati Award Premio Franco Abbiati della Critica Musicale Italiana, Italy
1998 Orphée D'Or Académie du Disque Lyrique, France
1999 Professor Honoris Causae Universidad C.A.E.C.E, Argentina
1999 Citizen of Honour City of Rosario, Argentina
1999
ECHO
Singer of the Year 		Deutsche Phono-Akademie, Germany
2000 Chevalier de l'Ordre du Cèdre Lebanese Government
2001 Artist of the Year[75] Grup de Liceistes – Barcelona, Spain
2002 The Ewa Czeszejko[76] Sochacki Foundation Award, Poland
2003 Artist of the Year[77] Catullus Prize, Italy
2004 Citizen of Honour City of Veszprem, Hungary
2005 Citizen of Honour City of Piacenza, Italy
2005 Città di Baveno Festival Umberto Giordano, Italy
2006 Giovanni Zanatello Artist of the 2005 Season Arena di Verona, Italy
2006 Enric Granados Award[78] Enric Granados, Spain
2006 Insigna d'or Amics de l'Opera de Lerida, Spain
2007 Career Achievement Award Lebanese Society of Rosario, Argentina
2008 Best Argentinean Opera Singer of 2007 Fundación Teatro Colón, Argentina
2009 Best Argentinean Male Singers of the Decade (1999–2008)[79] Fundación Konex, Argentina
2009 Career Medal[80] Fondazione Ugo Becattini, Italy
2010 Österreichischer Kammersänger[81] Wiener Staatsoper, Austria
2011 Theater prize, for "Deleting borders between East and West"[82] National Theatre, Slovakia
2015 Mención de Honor "Senador Domingo Faustino Sarmiento" por su obra destinada a mejorar la calidad de vida de sus semejantes, de las instituciones y de sus comunidades[82] Senado, Argentina
2015 Presidente Onorario[82] Academia Musicale di Verona, Italy
2016 Máximo galardón de la Federació Catalana de Basquetbol[82] Barcelona, Spain
2016 Reconocimiento del Ministerio de Educación de la Ciudad Autónoma de Buenos Aires[82] Buenos Aires, Argentina
2017 Professor Honoris Causa de la Universidad Nacional de Rosario.[83] Rosario, Argentina

Teaching and patronage

He is the Patron of the New Devon Opera[84] and the Vice-President of the British Youth Opera (or BYO).[85]

In 2007 José Cura was appointed visiting professor of the Royal Academy of Music in London. [86]

He has given many masterclasses and taught at different institutions throughout the years.[87][88] Most notably, for Nancy Opéra Passion, which focuses on launching new young talents onto the international stage.

Charity work

Cura hosted the annual Muscular Dystrophy Telethon in Italy in 2005.

In August 2007, he was awarded the Socio Fundador Honorario by the Associacao Portuguesa contra a Leucemia (APCL) for his on-going support of the association in its efforts to find a cure for Leukemia.[89][90]

Since 2008, he has been collaborating the Salva Vita Foundation in Hungary.[91]

References

Notes

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Sources

Further reading

External links

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