JoséCuratheConductor

Perhaps Cura, who put conductingamong his ambitions early in hiscareer, will make the path morerespectable for singers. Strangelyenough,itmaybeasingerwhowantsit all who will prepare the public forsingers who aspire to the podium.Thatcouldbeaverygoodthing.

(OperaNews,July2005)

José Cura was born to conduct. He debuted, age 15 as achoral director and at 16 he began studies in compositionwith Carlos Castro and pianowith Zulma Cabrera. Born inRosario, Santa Fe, Argentina, on 5 December 1962, Cura'smusical talentmaturedquickly:at12hewasplayingguitarunder Juan di Lorenzo's guidance and in 1982, he enteredtheEscuelaSuperiordeArtede laUniversidadNacionaldeRosario tocontinuehismusicaleducation in thespecialtiesofcomposingandconducting.Thefollowingyearhebecameassistantconductorfortheuniversitychoir.At21,hewonagrantforaoneyearcourseattheInstitutoSuperiordeArtedel Teatro Colón, where he continued to sing, operas andoratorios in the school choir until 1988, while focusing onenriching his composition and conducting aspirationsthrough the Zirst-hand experience granted by being part ofthe great Argentinean Coliseum activities. It was duringthose years that, as an example of his precocity, he ZirstconductedBach's‘St.MatthewsPassion.’

The progression from innate understanding to sculptingoriginal interpretations has been steady over the decades,even as Cura’s career as an international tenor sensationtended to overshadow his work on the podium. Whetherbreathing with the singers in opera or concert, providingsensitive readings of delicate compositions or leading anorchestrainsoaringsymphonicgrandeur,Curaneverplaysitsafe.Heinhabitsthesoundscapeandclaimsitashisown.

CurahasalwaysmanagedtoZindawaytoZitwhathelovedmost into his musical life; a Cura concert may Zind himaccompanyinghimselfonstageashesings(arevolutionaryconceptwhenheintroduceditbutnowemulatedandmorewidely accepted) or conducting the orchestra in a widearrange of intriguing pieces. Hewas the originator of thehalfandhalfconcert:wieldinghisdark-hued,sensual tenorin song before effortlessly taking to the podium toimpeccably shape a symphony. In either role, Cura comesradically alive in themusic, sweeping the audience intohisuniverse.Conducting has been an intrinsic part of Cura’s performingplatform; from the start of his international career he hasmixed podium work with vocalism in an informal way, aswhenheperformedattheFestivalLjubljanain2000.Formalrecognition of his exceptional conducting abilities came in2001, when Sinfonia Varsovia offered him a three-yearassignment as principal guest conductor, a positionpreviously held by the late Lord Yehudi Menuhin. Curainaugurated his partnership with a spectacular concert inWarsawinNovember2001.Concert,Warsaw:Afterthe?irstcollaborativeperformanceof José Cura and Sinfonia Varsovia at the NationalPhilharmonic the skeptics must become silent. Thetemperament and charisma of the Argentinean tenor,combined with the ensemble's perfection, may bringmanyinterestingartisticresults.Wprost,November2001Concert, Warsaw: Sinfonia Varsovia played sensationallyunderCura’sbaton.Thehomogenousstrainsoftheentireassemble was combined with the clarity of individualinstruments' play. The polished solos, especially of theclarinet and oboe deserved the highest praise. Trybuna,November2001Concert, Warsaw: Yesterday the Sinfonia Varsoviainaugurated its co-operationwith José Cura, the famous

Argentinean tenor, inbrilliant style. GazetaWyborcza, 26November2001Concert, Warsaw: Sinfonia Varsovia played sensationallyunderCura’sbaton.Trybuna,27November2001Concert, Sinfonia Varsovia: It would be dif?icult not tonotice the excellent rapport that José Cura haswith thePolish orchestra. Under his baton the instrumentalistsplayfreely,thereisthiswonderfulstress-freeatmosphere.SlowoPolskie,January2002Concert,SinfoniaVarsovia: JoséCura’sconcert isnodoubtgoing to go down as one of themost importantmusicaleventsinthisregion.WyborczaGazeta,January2002Concert, Vienna: The evening at the Great Hall of theVienna Konzerthaus showed Cura’s Janus-faced talents.After the intermission,Curaprovedhis ?irstclass, innate(conducting)abilitieswithabreathtaking interpretationof Rachmaninov's vigorous ‘Symphony No. 2.’ Tosummarize this enthusiastically received evening: ahighly talented conductor who also sings opera for hisownpleasure.DiePress,December2002Concert, Vienna: [Cura] proved to be a meticulousinterpreterofRachmaninov’s‘SecondSymphony.’Withoutairs and graces, with sweeping gestures and preciseentrieshesketchedanelectrifyingbodyofsound,inwhicheachmovementwasfollowedbyfranticapplause.KronenZeitung,December2002Concert, Vienna: José Cura had already led the SinfoniaVarsovia in a well-paced overture of Verdi’s ‘I VespriSiciliani’andthepreludeofActIIofGiordano’s‘Siberia’inthe ?irstpart,butafter the intervalheprovided the truesurprise of the evening: he conducted Rachmaninov’s‘Second Symphony’ very well, letting the music ?lowsmoothly, phrasing beautifully. This performance was ahighlyprofessionalachievementwhichmadeitclearwhy

the Sinfonia Varsovia has named him principal guestconductor(afterall,nolessthanYehudiMenuhinwashispredecessor). A performance which surpassed even CDversions under Previn or Janssons […] Der Neue Merker,January2003Concert,Poland: Indescribingtheconcertwith JoséCura,one cannot ignore the whole non-musical layer–thetheatercreatedaroundthemusicbytheArgentinean.Onone hand he draws attention to himself with his verypresence and his every gesture. On the other hand, hecares for the orchestra all the time, showingwith everymotionthattheyarethemost importantelement.Cura’sconcertisnodoubtgoingtogodowninasoneofthemostimportant musical events in this region, in this season.WyborczaGazeta,January2002Concert, Sweden: A tenor who can conduct: José Curatogether with the Sinfonia Varsovia presented classicalmusicatitsbest.Cura’sworkasaconductorwasbrilliant—hehadtheSinfoniaVarsoviaeatingoutofhishand.Theorchestra startedoffwithGrieg's 'PeerGynt SuiteNo. 1.’Rachmaninov's ‘Second Symphony' made up the secondpart of the concert. It was a joy to see José Curaconducting this piece. The baton was abandoned andinstead, he conductedwith his whole body.With ?ingersand big sweeping arm movements, he danced with thedifferent instruments.Againthedelightedaudiencegavestandingovations.DD,July2002Concert, Sweden:As a tenor, José Cura has a feeling andlove for the climax of the music. This he brings to theconductor's podium. He begins slow music very slowly,soft music is very soft. Cura underlines the rubati andchanges in tempo. He has a sense of drama.When it isalready heavy, he pours on a little more. This workedremarkably well with the orchestral pieces during theconcert on Saturday evening. In the waltz in "Anitra’sdans," Sinfonia Varsovia presented itself as an exquisitesymphony orchestra—exact with details and radiance.

The highlight of the evening was undoubtedly Cura’smovinginterpretationofRachmaninov'spowerful‘SecondSymphony.’ The strong adagio was a knock-out and the1200-strong audience responded with a long standingovation.FalunKuriren,29June2002Cura subsequently led his orchestra in a series of highlyacclaimed performances of such symphonic works asRespighi'sPinidiRoma;healsorecordedAurora,acollectionofoperaarias,withthem.BoththeRachmaninovsymphonyandAuroraareavailableonCD.Rachmaninov CD: The ?irst movement exposition bowlsalong compellingly enough tomerit its full repeat here;thescherzo isasbrightandarticulateas the ?inale;andthenow-clichéd lovesongcontoursof theslowmovementretainacertainfreshness.BBCMusicMagazineRachmaninovCD:Aperformanceyou imaginedbutneverdreamed you would experience: fast and powerful,impressive, vivacious. Great Rachmaninov playing.ClassicalMusicWebRachmaninovCD:AfreshandvirileRachmaninovreadingfromthetenor-turned-conductor[who]hasde?initeideasabouthowthemusicshouldgo.GramophoneRachmaninov CD: The production convinces with itspassionate, highly emotional expression, its romanticexuberance, itsdiffuse,elevated idiom,anditsdirectnessin the communication of feelings. In the conductor onesenses the “breath” of a singer in longmusical phrases:ample and rich in sound–like a pleasant ecstasy.SalzburgerNachrichtenRachmaninovCD:Cura,temporarilyabandoningthestage,directs the Warsaw orchestra in a fast and powerfulperformance. Cura’s grasp and focus is impressive; themore so in a work that has its longueurs. Thisperformance is full of vivacious temperament and fairly

?liesalong.Curamakesmanytellingpointsalongthewayandthefactthathisfootisdownonthegaspedalmattersnotabit.Somemight?inditshockinglyquickbutprovidedyoudonotinsistontheviscouslyprotractedyoumaywell?indyourselfwantingmoreRachmaninovfromCura.RobBarnettRachmaninovCD:[Curaknows]exactlywhattodowiththemusic, and he leads an expertly shaped, urgently vitalperformance, as true to the spirit of themusic as to theletterofthescore.Listen,forexample,tothesurewayinwhich he builds the introduction, and to the feeling of atrue allegro with which he imbues the ?irst movement(with exposition repeat).His decision to take the secondsubjectintempoandthenrelaxandslowdownonlyatthecadence theme proves far more emotionally clinchingthanmanyamoreindulgenttreatment(anditalsomakesthe repeat sound inevitable rather than redundant).When thebig climaxarrives,with crashing cymbalsandbassdrum,heconveysthefeelingofpent-upenergybeingunleashedwithoutneedingtomakeamassiveritardthatchecksthemusic'smomentum.Ifyoulovethissymphony,you will certainly have to hear this surprisingperformance from a very unexpected source. ClassicsTodayRachmaninovCD:OneobviouslyneednotworryaboutJoséCura’s "old-age pension:" wherever his dramatic tenor’sambitions will lead him in the future, he has begun intime to build a second career as a conductor, and hedoesn’tcon?inehimselftoopera.Cura’stwonewreleaseswith Sinfonia Varsovia reinforce the impression thatsinging ishis jobbutconducting ishis truepassion.Andthe recordings leave no doubt that he knowswhat he isdoing. The combination of Slavic melancholy and Latin-American temperament isde?initely fertile.Although themusicians bathe in emotion in Rachmaninov’s 'SecondSymphony,'theconductoralwaysremainsincontrol.FonoForum

Curacontinuedtomakeconductingappearancesthroughtheend of the year, including leading Sinfonia Varsovia inBeethoven’s Symphony No. 9 in D minor (Choral) duringWarsaw’s "Stars for Europe" series in November. The Curamagiconthepodiumtouchedmusiciansinotherorchestrasthroughout the year as well, as when he led the AalborgSymphonyOrchestrainDenmarkinlate2002.Concert, Aalborg: José Cura is multi-talented, somethingfullyrealizedintheconcertfromthevery?irstnumber.Heconducted the overture to Verdi’s ‘Forza del destino.’ Ihave never heard the Aalborg Symphony Orchestra playmorebeautifully.Herewasprecision,poetry,andintenseinvolvement.Thewholeconcertwas likethis.BTonLine,November2002Cura conducted an exuberant New Year's concert inBudapeston31Decembertobringtheyeartoatriumphantclose.In February 2003 José Cura made operatic history at theHamburgischeStaatsoperwhenheZirstconductedCavalleriarusticanaandthensteppedonstagetosingtheroleofCanioin Pagliacci. Both conductor and singer were met withtumultuousapplauseandcriticalpraise.Opera, Cavalleria rusticana, Hamburg: Cura inspired theorchestra to give a voluptuous, sensuous performancethat at times had an almost Latin ?lair and spirit.HamburgerAbendblatt,February2003.Opera,Cavalleriarusticana,Hamburg:Cura’sapproachwasveryclear:with ?irmcontrolhehadtheorchestracreateintense, dramatically charged musical lines and wasalwaysattentive to theneedsof thesingers, showinghissurefeelforthesoundbalancebetweenorchestrapitandstage.AfterthissuccessitwouldbedesirabletowinJoséCura for further engagements in Hamburg, both as asinger and a conductor of full-length operas. Opernglas,April2003

A favorite guest conductor for orchestras across Europe,Curaappearancesalwaysfeatureintriguingprograms.Inthespringof2003,hecompletedaseriesofconcertsinBusseto,Verdi'shometown,wherehesangallthetenorariaswrittenby the composer and conducted all the Verdi symphonicovertures. He conducted in Munich in July and ended thesummer with a unique outdoor concert in Budapest thatincludingleadingtheFailoniSymphonyOrchestrainsuchfanfavorites as the “Bacchanale” from Saint-Saëns’ Samson etDalila, “La Tregenda” from Puccini’s Le villi, Strauss’ AlsosprachZarathustra,andBrahms’sHungarianDanceNo.1.Concert,Busseto:That JoséCuraownsthemagic formulafor sending an audience into a state of rapture wasprovenalltooclearlytheothereveninginthetinyTeatroVerdi of Busseto, which was literally brimming withenthusiasm.ParmaGazette,May2003Concert, Munich: Cura conducted with inspiration, withvigor,with knife-edge rhythmic acuity andwith a talentforshowmanship.SueddeutscheZeitung,26July2003In his return to the podium with Sinfonia Varsovia on 18September, Cura conducted Beethoven's monumentalSymphonyNo.5inCminoraspartoftheVIEuropeanFestivalin Jelenia Góra (Poland). Displaying an instinctiveunderstanding of this great classical work, Cura led hisorchestra through an original, electrifying and highlysuccessful presentation. Cura next traveled to SoZia toconduct the Bulgaria Philharmonic Orchestra on 28September in an unforgettable evening of music thatincludedRespighi'sPinidiRoma,Borodin'sPolovtsianDancesandTchaikovsky'sSymphonyNo.5inEminor.Thislastwork,oneofthepillarsoftheromanticrepertoire,provedtobeanidealmatchforCura’spassionatetemperamentanddramaticsensibilities. Both performances earned the conductorenthusiastic applause by appreciative audiences but it wasthetwosymphonies(theBeethovenandTchaikovsky),withtheirvastlydifferentapproachestothecentralthemeoffate,

thatsecuredtheMaestrowide-spreadcriticalacclaimforhisfresh vision, exciting execution and authentic voice, addingeven greater luster to Cura’s burgeoning reputation as aconductorofnote.HefollowedthatperformancewithasoldoutsymphonicconcertinSoZia.Concert, SoZia:Applause ?illed the sold-out auditorium inhonor of the Latin Americanmaestro as he directed thenationalorchestra.TheprogramwascomprisedofworksdescribedbyCuraassomeofhisfavorites: ‘PinidiRoma’by Ottorino Respighi, a perfect ?it for his Latintemperament; the ‘Symphony No. 5’ by Peter IlichTchaikovsky; and selected pieces from ‘Prince Igor’ byAlexanderBorodin.TheBulgarianaudiencerose to theirfeetafter the ?inalnote inanovation that lastedseveralminutes.CrónicaDigital,September2003InOctober,he returned toPrague fora standing-room-onlyconcert featuring an inspired selection of Puccini ariascoupledwith theSymphonyNo.9 inEminor,From theNewWorld, from the Czech Republic's most famous composer,Antonin Dvořák. Cura’s Zinal public concert of 2003was inBudapest, during which the maestro led the MatávHungarianSymphonyOrchestrainasearingrenditionoftheDvořákSymphonyNo.9,recordedliveforCura’sthirdreleaseundertheCuibarlabel.Concert, Prague: In his second performance in Prague,Cura once more performed not only as an outstandingsoloist, but also as an evermore frequent conductor. Infront of an orchestra, in this case the Prague ChamberPhilharmonic, Cura radiates an irresistible charisma,whichservedonlytohighlighthispreciseandclearhandmovements, accompanied by an eloquent expression.DenìkyBohemia,October2003Concert, Prague: This was an interesting, wild and ?ieryDvořák.IDNES,October2003

JoséCurabeganhisconductingyearof2004inWarsawwithBeethoven’s Zinal complete symphony,SymphonyNo. 9 inDminor, Op. 125 (Ode to Joy), arguably the single greatestshowpieceofWesternmusic,incendiaryandiconoclastic.José Cura has been a strong advocate for making classicalmusic accessible to the masses, as demonstrated in hisparticipation in two spectacular events in early 2004. InFebruary,MaestroCuratookupthebatontoconductVerdi'sUnballo inmaschera inPiacenza, Italy, inaunique,modernproductionheldinavastpublicexhibitionhall.Designedtoopentheperformancetothewidestpossibleaudience,Curaledhiscastthroughtheintricatedramaandemotionalmusicto earn a warm reception from both Zirst time andexperiencedopera-goers.InAugust,CuratooktothepodiumduringtheVeszprémfest(Hungary) to conduct the National Philharmonic Orchestrain aprogram includingRachmaninov’sPianoConcertoNo. 2in C minor, Op. 18, with Zoltán Kocsis as pianist. CurareturnedtoLisbonattheendofOctober2004toheadlineaspecial evening of music for the Associação Portuguesacontra a Leucemia. Combining artistic excellence andcharismaticstagepresence,Curaenchantedtheenthusiasticaudienceof thousandswithhis inspiredconductingofOrff,Rachmaninov,andBorodin.JoséCura’sstarshonebrighton2NovemberwhenhehostedtheNight of Ten Tenors at the Royal Festival Hall, London.Alwaysachampionofemergingtalent,Curadiddouble-dutyas tenor and maestro: after demonstrating why he isconsideredoneoftheZinestsingersintheworld,hesteppedto the podium to display not only his superb conductingskillsbutalsohis innatesensitivity to theneedsofhisnineyoungsoloists.Concert,London:ThedashingArgentineanprovedhimselfastylishandsympatheticmasterofceremonies,givingallninewannabesthetimeandspacetodisplaytheirwares

in the shiniest possible light. The Observer, November2004.Concert, London: Conducting, Cura made a naturalaccompanistandshapedorchestralphrasespersuasivelyonwhatmusthavebeenminimalrehearsal.Independent,November2004Curaended2004withaseriesofhighlyacclaimed,sold-outconcerts inSwitzerlandthatbroughtaudiencestotheir feetinthunderousapplauseandleftcriticsenthusiastic.Concert, Geneva: There isn't a soul who can resist theimpression that he has the privilege of taking part in adialog,ofbeingtakenbythehandwithwarmthtobeleaddown the paths of allmusical genres.With a gentlenessthat is more coaxing than disruptively overwhelming,Curaalsoknowshowtolead,toguidethemusicianswiththebaton.HisveryphysicalversionofDvořák’sSymphony‘From the New World’ leaves no room for dillydallying.Theensembleisbroughtintoshapewithasolidhand;thebrio passages are sustained with strength and power.TribunedeGenèva,December2004Concert, Berne: In the second part [of the concert], Curatook up the baton himself and conducted Dvořák's‘Symphony No. 9 from the NewWorld.’ Remarkable wasthe way in which this artist, clearly a person ofcomprehensive musicality, both elicited and extractedcolors,contrastsandexpressivityfromthework.Makenomistake; this popular symphony has been played in thisvery hall with much less vitality, inspiration and verve.His remarkable ability surely found its ?inest expressionin theLargo:hereheprovedsubtlety, sensitivityandthecapability to also shine an insightful light into themysteries of the abyss, into the enigmas far below thesurfaceof this score… Is itanywonder that theovationstookonstormydimensionsafter thesecondhalf?BernerZeitung,December2004

José Cura proved his versatility on the podium throughout2005.InlatespringheconductedPucciniandRossiniinItaly.In June, he conducted two sacred works at the MiskolciOperaFesztivalinHungary:theprogram,whichopenedwiththesomberbeautyofRossini’sStabatMater,washighlightedby conductor Cura’s highly personal, daring and emotionalinterpretation of Kodaly’s Te Deum. In September, Curatraveled to Plymouth, England, to conduct the Ten Torsorchestra in a spectacularGalaOperaConcert.Displayingafar-ranging taste for quality music, the Maestro led hisensemble in numbers from Rossini (William Tell Overture),Tchaikovsky (Eugene Onegin), Gershwin (selections fromPorgy and Bess), Verdi (I vespri Siciliani overture), andDvořák (“Hymn to the Moon” from Rusalka and the ZinalmovementfromSymphonyNo.9).Cura returned to Italy in December for a month-longimmersion in conducting, interrupted only when he raisedhis voice in support of charity during the annualMuscularDystrophy Telethon. Concerts with the L'orchestra dellaFondazione Arturo Toscanini in Busseto and PiacenzafeaturedRachmaninov'sPianoConcertoNo.2inCminorandSymphony No. 2 and Kodaly's Dances of Galanta. Theperformances were artistic and popular successes, withCura’s 'sparkling conducting’ earning ovations. He thenended the month in Mantova conducting Verdi's I vespriSiciliani.AtthesametimeCurareceivedtheCittédiPiacenza-GiuseppeVerdiawardforartisticrangeandexcellence.Concert, Piacenza: L'orchestra della Fondazione ArturoToscanini was conducted by Cura with such enjoyableextroversion that he earned ovations from the Piacenzaaudience.ConcerningtheRachmaninovpianoconcertthedetermination and “hot blood” of José Cura wereappropriate for the original spirit of the score. Greatenergy was also present during the second half of theeveningforthe‘SymphonyNo.2inEminorop.27’bythesame composer. Thanks to José Cura, the audience wasable to experience sparkling conducting and the stagepresenceofa realandproper “personality.” InPiacenza,

where themaestro and pianist granted two encores, hereceived yet another con?irmation of his talent on thepodium.Liberta,December2005Opera,IvespriSiciliani,Mantova:JoséCura,thistimeintherole of conductor, commanded the orchestra withcon?idence, demonstrating his understanding of theeleganceof thescore.Hedidn'tgive in to thetemptationto exaggerate, even during those moments of extreme"popular"?lavor.Tempiwereappropriateandthepianioftheorchestrawellcalibrated.Theexcellentorchestraandchoir of Toscanini Foundation responded well and therelationshipbetweenthepitandthestageturnedoutwellbalanced.Operaclick,December2005In 2006 Curawas tapped to lead theworld-famousViennaOperaorchestrainaspellbindingMadameButterXly.Opera,Madame ButterXly, Vienna: Something else of greatimportance: José Cura and the orchestra. The conductoroffered up a ?irst-rate reading of the composition andproved that the expression of sensitive, tender emotionsdoesnotneedeithersentimentalityorsugarysweetness.The members of the orchestra were totally committed,accepted him without reservation and followed himwillingly. Cura drew clear distinctions in the orchestralrendition, in that strong dramatic outbursts werefollowedbythemostdelicateandsoftlyricismintheblinkof an eye. To the singers he was an optimal guide andaccompanist. After his singing career, the doors of aconductingcareeraregoingtobewideopenforhim;thatmuchwasproven.DerNeueMerker,May2006José Cura ended the summer months of 2007 in Cortona,Italy,attheprestigiousTuscanSunFestivalwhereheledtheRussianNationalOrchestra in anevening full of gems fromtheRussianrepertoire.

Cura continued to add conducting elements to his concertdates,ashedidwithanastonishingeveninginIrelandinlateOctober.Concert, Belfast: The opening concert of the BelfastFestival featuring José Curawill be discussed for a longtime to come. The Argentinean-born tenor has woncritical acclaim both as a singer and a conductor; onFriday night he entertained the crowd with his sheerexcellence in both capacities. Cura’s broad talents wereclearlydisplayedinhisconductingskillsinworkssuchasoverturefromVerdi’s‘Laforzadeldestino.’Curareceivedastandingovationfromaveryappreciativeaudience—avery memorable occasion. Well done, Belfast Festival!IrishNews,October2006Concert,Belfast:Curaalsoconducts,andtookupthebatonfor the Prelude to Act 2 of ‘Siberia,’ a little-knownGiordanopiece.Healsoconductedthe“Bacchanale”fromSaint-Saëns’ ‘Samson and Dalila.’ He’s a con?identconductor with a kind of animal energy and terri?icprecision. The opening chord of the Saint-Saëns was aswell placed and together as anything in the concert.Newsletter,October2006The 2007/2008 performance season started in Septemberwith a master class in Nancy, France, where Maestro Curaadded to his growing reputation as teacher, mentor, andconductor:Nancy Masterclass Concert: We had the measure of thischef-d'orchestre in opera: José Cura let the orchestrabreathe.Ofcourse,thepoignantmotiveforthefather-sonduetplayedbycellosisalreadyoperaparexcellence,butitisstillnecessarytoknowhowtoletthemsing.Asforthemartial crescendo, we heard it amazingly produced. Inbrief, José Curamade the entire overture vibratewith atheatricalsense.ForumOpéra,September2007

In early February, 2008, Cura took time out from his busyoperascheduletoconductVerdi'sRequiemfortheHungariancharity Salva Vita, an organization dedicated to helpinghandicapped citizens gain increased independence throughvocationaleducation.He followedwithanotherstintonthepodium, conducting a symphonic concert at the DeutscheOperinBerlininMarch.Concert, Budapest: The cracking noise of dilapidatedchairs, mind-shaking sneezes during the intervalsbetween the movements, tiny snorts, ?idgeting,suppressed coughs were always part of every, howeverremarkable, production. Even if it was amasterpiece ofthe music literature by interpretation of any big namemusician, I have not had the luck to attend a concertwithout these annoying distractions. On this occasion,there aren't anywhatsoever. The good oldMusic Hall ispackedtofullcapacity,butnotevenawhisperbreaksthesilence between themovements. Heavy, almost palpablethe silence in the auditorium, before the sounds of thedark,pulsating,powerful,andpassionatemusicchillsusto the bone, and José Cura puts us completely under hisspell.NépszavaOnline,February2008Cura started2009 conducting inBologna, Italy.An inspiredteacherandenthusiasticsupporterofyoungmusicians,CurathenreturnedtothepodiuminFebruarytomentoracastofyoungsingersthroughPuccini’sLarondine,alightromanticcomedy with an edge. With a compelling score Zilled withsubtlemodernistictouchesandenoughrolesofsubstancetomakeitsuitableforstudents,theproductionofferedanidealmixofseasoned,qualityleadershipandwilling,enthusiasticperformers.Opera, La rondine, Bologna:And to prove that the youthswere not sent into the fray without direction, José Curawas there to guide them vigorously from the podium(back after his recent concert in which he triumphantlyledaprogramofAmericanmusic).IlGiornaledellaMusica,Feb2009

Opera,Larondine,Bologna: JoséCuragoes fromthestageto the podium, adroitly showing us how it is done inregard to timing, phrasing, and atmosphere. LaRepubblica,March2009Opera, La rondine, Bologna: In the orchestra was thesurprising presence of José Cura, and as a conductor hesurelyhasafutureinfrontofhim.Thecarewithwhichhewraps and protects the soloists is the reason for thesustainedsinging.HewasattentivetotherichcolorsthatPuccinispreadfreelythroughoutthis“bird”thatismanytimes underestimated. Bravo Maestro Cura! LaRecensione,April2009Duringsummer2009,Cura’sconcert inRoccaSanCascianoconcludedatmidnightwiththeRomagnapublicindelirium,bewitched by the eclectic Argentinean tenor José Cura andtheFilarmonicaArturoToscanini.Concert, Emilia Romagna Festival: The generosity of theorchestra, skillfully conducted twice by José Cura,whoseentirebodywas likeatruematadorofthestage,pullingoutalltheartisticenergyoftheinstrumentsasatoreadorin the arena, offered such a harmonic show that itsatis?iedathousandpeople(IlRestodelCarlino,July2009).InNovember, Cura returned to Budapest to conduct Bach'sMass in B minor, one of the supreme achievements ofclassicalmusic.In February 2010, Curawas invited to the Budapest OperaBall,wherehesangandconducted.Concert, Budapest Opera Ball: Budapest bested theVienneseinhavingastaroftrulyinternationalstatureonstage. Argentinean tenor José Cura, who is well-established in all the important opera houses of theworld,presentedtwosongsafterheconductedtheOpera

BallOrchestra. Cura, charmingandgracious, cutagoodOperaBall?igure.PesterLloyd,February2010Cura started the new performance year in Nancy asconductor to provide the complete opera experience foryoungMasterClasssingers.Asoneparticipant,FlorentMbia,remarked,“IwasnotatallexpectingthisandIamsublimatedbythispersonality,andI’mtellingtomyselfthatwe’rehavingan enormous chance to have this fellowwho is all at once asinger like us, a conductor and a very very great musician.Thatisluck.Therearenotmanysingerswhowillgetthesamechance.ThereareplentyofthingsthatI'velearnt,enormously,I assure you; it’s not to Xlatter anybodyor todo small talk, Iassureyou.Especiallywhen it comes to thewayofactingonstage, and living themusic, transcending themusicand thenconveyingsomethingtothepublic,thankstohimforthis.”Cura tookhisbaton toEstonia for the JulySaaremaaOperaDays festival, where he charmed the crowd with hisorchestralprogram.Concert,SaaremaaOperaDays:InSaaremaa,theprogramwasimaginativeandatypical—Curashowedhimselftobevery intelligent and sophisticated, a great orchestraleader whose focus during his brief visit was on themusicians, soloists, the chorus, and, of course, his stagepartner.The result: Curahad theorchestra inhishandsfrom the beginning so theymade their utmost effort forthe audience, who did not skimp on the ovations. Theentire program was perfect and emotional. José Cura'sconcert was unquestionably the concert of the year andone of our most important cultural events. Ekspress,August2011KeepinghispromisetoreturntoNancytopresentanoperafor the rising artists who had participated in his masterclasses,Curadesigned,directed,andconductedPuccini’sLarondinetointernationalacclaiminspring2012.

Opera,Larondine,Nancy:Apartfromearlyworks‘LeVilli’and ‘Edgar,’ ‘La rondine’ remains the least known andleast performed operas from the fully mature GiacomoPuccini,yetthiswastheworkchosenbyJoséCuratolead,bothasdirectorandconductor,atroupeofyoungartistswith whom he has had the opportunity to work in themaster classes he gives each year in Lorraine, at theinvitation of the Association Nancy Passion Opera. Butwhat was most seductive about this ‘Rondine’ was theconductingofJoséCura.Helovinglysupportedhissingersbymaking sure never to drown them out. He supportedthem without ever lacking re?inement, without a singleuncalled-foraffectation,withoutasinglewrongly-placedemphasis. This was a veritable jewel of balance andsubtlety, the Nancy Symphonic and Opera Orchestravisiblyunderhisspellandrichin?inesse,withtheChorusof the Opera National de Lorraine perfectly in tune.Resmusica,May2012Opera,Larondine,Nancy:Theseriesofperformancesof‘Larondine’ at the National Opera of Lorrain is theculminationofaproject that started ?iveyearsagowithmaster classes led by José Cura. In caring for the vocalplatform, José Cura's conducting breathed with thecon?idencethatseemedconnectedtothemusiciansoftheOrchestre Symphonique de Nancy and con?irmed therelevanceoftheprojectthathecarried,bringingcredittotheinstitutioninLorraine.ConcertCassic,May2012Opera, La rondine, Nancy: Argentinean tenor José Curainfuses the magni?icent score with great emotion whilebringing order in the confrontation of the variousaesthetics. The tremendous ovation he received duringcurtain callwasundoubtedly for this talent. ConcertonetMay2012Returning to the podium in January 2013 at the TeatroMassimo Bellini to open the opera season in Catania, CuraconductedVerdi’sUnballoinmascheratoravereviews.

Opera, Un ballo in maschera, Catania: José Cura led theorchestraof our theaterwith ?irm ?inalityplusanequalexpertiseindynamicsbysuccessfullytakingthemeasureof everyminute change in tone colorandexpressivenesswith utmost punctiliousness and precision, neitheroutdoingoroverwhelming(perhapsbecausehehimselfisanexcellentsinger)thevocalperformanceofthesingerswith an intrusive and insensitive sound, nor forgettingabout re?inement and discretion. Bellini News, January2013Opera,Un ballo inmaschera, Catania: Eight uninterruptedminutes of applause, a standing ovation for tenorMarcello Giordani, for sopranoDimitra Theodossiou, forJosé Cura, the conductor, and for Luca Verdone, thedirector. A consensus that declared Giuseppe Verdi’s ‘Amasked ball,’ which last night opened the 2013 operaseason for the Bellini Theater in Catania, a success. Theorchestra of the “Bellini”, under the energetic andimpassioned baton of such a great personality of theoperatic stage as José Cura, gave its best. ANSA, January2013Opera,Un ballo in maschera, Catania:On the podium, theorchestrahadJoséCura,tenorofworld-wideacclaimanddecidedlyeclecticartist.Hisownsensibilities,attentivetobreathingandtothedynamicsofthevoice, indeedmadefortheaccompanimentoftheorchestraandtheunfoldingmovementsofthesingerstocombineinperfectharmony,bothrhythmicallyandinthewaythesoundlevelsrelatedtoeachother.GBOpera,February2013While inCatania,MaestroCuraconducteda special concertin honor of the Patron Saint of Catania, Sant'Agata. Theprogram includedworksbyVincenzoBellini, Camille Saint-Saëns,GiuseppeVerdi,PietroMascagni,GiacomoPucciniandsongsbyGaetanoEmanuelCalìandJoaquinRodrigo.CuraconductedinbothMoscowandAntalyabeforeheadingto Budapest to support the Salva Vita Foundation, a group

dedicated to helping physically and mentally challengedyoungpeople Zindtheirway,withaconcert thatshowcasedCuraassinger,composerandconductor.Concert,Budapest:JoséCura’scharityconcertinBudapestwas a memorable evening. He arrived at the Palace ofArtswithoneofhis compositions.This song,whichCuracomposedforapoembyPabloNeruda,[had]anunusuallystrong impact at the end of a melancholy, bittersweet,inspired and poetic song-recital on death based onArgentinefolklore.JoséCuracouldbeacomposerofhighcaliber, if he could ?indmore time to composing. It wasalso interesting to watch, when he conducted the ‘MisaCriolla,’howhecombinedtheroleofconductorandsoloistinoneperson.MagyarNemzet,December2013Concert,Budapest:Ticketswere soldoutwithinmomentswhen word got out that José Cura would perform inBudapest [offering] a special Argentine evening in thePalace of Arts for Salva Vita Foundation. It was roaringsuccess.JoséCurasangandalsoconductedthechoirandmusicians standing with his back to them. His ?ingerswere speaking. By the end of the concert everyone was?illedbyhappiness.Infovilág,December2013In October 2014, Cura passed another landmark in hisremarkable musical journey when his Stabat MaterpremieredinČeskéBudějoviceunderthebatonofMariodeRose and the discerning eye of the Maestro. Paired withMozart’sRequiem, the evening resoundedwith themysteryofbirth,lifeanddeathandthespiritthatbindsall.Concert, České Budějovice: The main “attraction” of thisextraordinary concert was the attendance of worldfamous tenor José Cura, this time as a composer, in alarge composition, ‘Eccehomo,’ the StabatMaterportionofwhichwaschosenforapremiereinSouthBohemia.Thetheme seems to be eternal and thus timeless. Thedissonance that Cura seemed concerned about, to me,were rare and expressively justi?ied. The compositionhe

wrote at 26 with a pure soul and very good theoreticalfoundationhasaninterestingmeditativecomponentanda celebratory highlight in the last “Gloria.” OperaPlus,November2014Cura next traveled to Zabrze, Poland, where he conductedarias, operettas, songs and instrumental pieces, includingSymphonicTangobyAstorPiazzolla,performedinPolandfortheZirsttime.Concert, Zabrze: José Cura, returning to Poland after alongabsence,arrivedonstageintheDomuMuzykiiTańcainZabrzeshowinggreatartistic form. It isworthnotingheretheinvolvementofJoséCurainconducting.Watchinghim lead the group I had the impression that the tenor?lowedwiththeminthebeautyofthemusic.Theconcertendedwith a long standing ovation thatmade clear theaudiencedidnotwanttheartists to leavethestage.Onethis is certain: José Cura con?irmed that he is a greatartist and succeeded in creating such a relaxedatmosphereforbothorchestraandaudiencethroughhispersonality. To Maestro José Cura: thank you for thismusicalfeast.Presto,November2014CuraledhisownMagniXicat,alongwithPiazzolla’sTangazo,Variations on Buenos Aires and Rachmaninov’s immortalSymphony No 2 in E minor at Teatro Massimo Bellini inCatania in April 2015 before traveling to Gyor for amixedconcertfeaturingbothsongandorchestralworks.Concert,Gyor,May2015:AsCuraconducted,theorchestrasoared.WhateverJoséCuradid,itwasalwayshonestandheartfelt.InfoVilág,May2015For Nowy Sącz, Cura undertook Mahler’s difZicult butmonumentalResurrection, awork questioning themeaningof life and asserting the beauty of eternity. AsMahler saysabouttheZinale,"Theearthquakes,thegravesburstopen,thedeadariseandstreamoninendlessprocession.Thetrumpetsoftheapocalypseringout.Allisquietandblissful.Thereisno

judgment,nosinners,nojustmen,nogreatandnosmall;thereis no punishment and no reward. A feeling of overwhelminglove Xills us with blissful knowledge and illuminates ourexistence."Concert, Nowy Sącz: Conductor José Cura enchanted theaudience in Nowy Sącz. The Beethoven AcademyOrchestra,thePolishRadioChoir,GóreckiChamberChoirand the vocalists under Cura’s leadership performedGustav Mahler's work. ‘Symphony No. 2 in C minor’"Resurrection"resoundingintheplacebestsuitedtoit-inachurch.Itwasarealfeastforthesenses.Aftertheendofthe entire symphony, the audience rewarded the artistswithextendedapplause.Itwasde?initelyasuccessfulandone which will remain in our memory for a long time.MiastoNS,May2015Concert, Nowy Sącz: José Cura won the hearts of NowySącz.RDN,May2015Concert, Nowy Sącz: A brilliant performance of GustavMahler's‘SymphonyNo.2inCminor,’conductedbyworld-famous Argentinean conductor and singer José Curainaugurated inNowySączXVIII International Festival ofVocalArtAdaSari.Naszemiasto,May2015Concert,Nowy Sącz: José Curagavean excellent concertthat aroused both admiration and great emotions. Theperformance of Gustav Mahler’s ‘Symphony No. 2 in Cminor’ "Resurrection," conducted by José Cura—conductor,composer,tenor,directorandalsoshowman—was very well received. Mahler's Symphony ismonumental in form and sound; about 80 minutes ofmusicperformedbyover180people.Itisaworkdif?icultto resolve, requiring great skill and knowledge from theconductor.TheinterpretationofJoséCuradelightedwithits proportions and in the care taken in extracting theinstrumentation of melodic lines hidden in the richtexture and dynamics. In this performance everythingwasasitthatshouldbe,fromthehugefortetothegrand

piano,fromtheshatteringdramatothelightness,thefunand even a smile—because, although it is a dramaticwork, the last part is a musical vision of the LastJudgement that is, in fact, optimistic. A very touchinginterpretation. Gazetakrakowska, May 2015, AgnieszkaMalatyńska-StankiewiczConcert,NowySącz: [Therewas]a long standingovationinNowySącz for theartistsafter theopening concertofthe International Festival of Vocal Art Competition AdaSari.JoséCura,conductor,composer,tenor,famousforhisunconventionalperformances,hadannouncedatapressconference that his interpretation of the Mahler workwould be theatrical and full of emotion; indeed, theexecution of this great and powerful symphony did notleave anyone indifferent. Cura’s interpretation was indelightful proportions, with attention paid to extractingthe richly texturedmelodiesand instrumentaldynamics.Everythingwasasitshouldbeinthispresentation, fromthe huge forte to piani, from shattering drama tolightness and fun. Itwas a very touching interpretation.Starosadeckie,May2015FollowingCura’shugesuccesswithhisstagingofCavalleriarusticanaandPagliacciatTeatroColón,theMaestroreturnedto the stage in his homeland as conductor in a concertofferingamixofoperaandsymphony.Concert, Buenos Aires: The Rosario tenor and composerJoséCuraofferedasurprisingandunconventionalconcertas conductor of the National Symphony Orchestra. Themultifaceted artist received a standing ovationwhen hearrivedonstagebuthewaslightheartedashepresented,onebyone,thesingers.Inthesecondhalf,Curaconductedtheorchestrainavibrantinterpretationofthe‘SymphonyNo9,’ also knownas ‘From theNewWorld,’ by theCzechcomposer Antonín Dvořák. It has been a wonderfulsurprisetoseehimconduct.Hedazzledallofuswiththesound he achieved in the Orchestra, which wasextraordinary.Itwasanightofluxury.Cultura,July2015

JoséCurabeganhisprestigiousthree-yearartistinresidencewiththePragueOrchestraFOKwithaprogramofworksthehecomposedassettingsforpoemsbypoetPabloNeruda.Concert,Prague:Therewasagreatsuccessthiseveningatthe Prague Municipal House with the musical-literarydrama“If Idie,Surviveme!”whoseauthoristhefamousArgentinean tenor José Cura. The songs were composedonthemesfromthelifeofChileanpoetPabloNeruda.[Theeffort] harvested appreciative applause and expansivebravos at the end of the twenty-minute long song cycle.CeskeNoviny,October2015ConductingtheBeethovenAcademyOrchestraforaneveningdeclaredtohavebeen‘animportantartisticevent,’CuraledaprogramthatfocusedonPolishmusic,includingMieczysławWeinberg’sRhapsodyonMoldavianThemes andMieczysławKarlowicz’s most ambitious work, Symphony in E Minor(Rebirth).Concert,Krakow:WewitnessedanimportantartisticeventasJoséCurastoodwithhisbatoninfrontoftheBeethovenAcademyOrchestra conductingWeinberg’s ‘RhapsodyonMoldavian Themes,’ Rachmaninov's ‘Piano ConcertoNumber2,’ andKarlowicz’s ‘Rebirth Symphony.’ Cura ledtheconcertwithhischaracteristicprecision.Thistimehecaptured the audience, not only in demonstrating themasteryofhisprofessionbutalsowithhisdirectnessandsenseofhumor.Agreatartistandmodest,normalperson—inCura’scase, thesequalitiesalwaysgohandinhand.The audience warmly welcomed the execution of theseworks. Małopolskie Centrum Kultury SOKÓŁ, December2015Concert, Krakow: José Cura is a very ef?icient conductor,with expressive gestures, so the orchestra could impresswith the precision of their playing. He "played" on theorchestra, doling out themes and threads, emphasizingthe climaxes—in aword, he created a beautiful story of

love, sadness, despair and hope. Beethoven AcademyOrchestrarose to theheightsofartistryunderhishand.No wonder artists had to encore. It was a beautifulmusical evening. Stowarzyszenie Muzyki Polskiej,December2015Cura’ssecondconcertasResidentGuestArtistinPraguewashis Zirst as conductorwith themand featuredanambitiousprogram carrying the subtext of afZirmation throughsuffering: songs by Rachmaninov (Vigil for mixed choir acapella op. 37, Respighi (Sunset), andCura’sMagniXicat; thesecondhalfoftheconcertwasgivenovertoRachmaninov’s2nd Symphony. The two performances were followed by aweek spent mentoring the younger generation of CzechmusicianswhenCuraheldamasterclass focusedonItalianoperasforsingersandconductors.ConductorConcert,Prague:AtWednesday’s concert in thecrowdedSmetanaHall,Curaappearedforthe?irsttimeasa conductor with the Prague Symphony Orchestra in asuccessful debut. Perhaps, therefore, it was appropriatethat the centerpiece of the program were vocalcompositions—worksbyRachmaninov,RespighiandCurahimself.InCura’s‘Magni?icat,’aspiritualpiecewrittenbyCura for the birth of his ?irst child, with soprano, thePrague Philharmonic Choir and the Jitro Children’schoruscreatedtheextraordinarysuccessofthesong.Thehighlight of the evening, however, proved to be the twoworks of Sergei Rachmaninov, in which Curademonstratedhis feel for the composer’sOrthodox faith.Novinky,February2016Concert, Prague: José Cura, Artist in Resident of theSymphonyOrchestraFOK,presentedapairof orchestralconcerts this week in an unusual dual role, as bothcomposerandconductor.Althoughtheevening’sprogramconsistedofworksbycomposersofthetwentiethcentury,it was the works of a romantic nature with a spiritualtouchinthe?irsthalfof theconcert.FramedbyworksofSergei Rachmaninov, the introduction of ‘Vigil formixed

choir a cappella op. 37’ evoked an oddly sereneatmosphere in theSmetanaHallof theMunicipalHouse,whichmadelisteningtotheexcellentperformanceofthePrague Philharmonic choir literally an experience.Whetheritwastheimpressivelybigsoundin“Come,letusworship”or the ?inework inpiano in “Rejoice,OVirgin,”thechoirsoundedatalltimesandinallvoicesbeautifullybalanced. Individual long phrases were full of tiny,dynamic details which amounted to music that wasunusuallylivelyandplastic.Curausedthesephrasesinanextra special ‘stretched’ way, particularly in theconclusions, which resulted in literally forcing a morefocused listening. Cura’s ‘Magni?icat’ for soprano,children’schorus,mixedchoirandorchestra[wasa]workwith the rich internal breakdown, written by thecomposer in1988,afterhiswifehadgivenbirth to theireldestson.Asaresultofhissuccessasasinger,theworkremained “in the drawer” for twenty-seven years, untilCura recently returned to it. The composition requires alarge cast, into which the composer cleverly worked asoprano line which is never unnecessarily covered byothervoicesorinstruments.Interestingalsowasworkingwith theactualmelodies, inwhichCuramakesextensiveuse of chromaticism which makes the music special in“sliding” from one phrase to another but never quitedeviating fromtheclear tonal centerso that itwaseasyfor listeners to follow.With the Jitro Children’s Choir headded an interesting, almost mysterious character,especiallyinthetensemoments;theorchestrabrilliantlyperformed the musical twists and sudden pauses. Curaselectedthemighty‘SymphonyNo2inEMinor,Op27’bySergeiRachmaninov forhis conductingdebut inPrague,inhisownwords,foronesimplereason—itiseverything.This extensive opus which literally pulled the composerbackintolifeafterthefailureofhis?irstsymphonyistheapotheosisofallthatisromantic,fromtheinitial“Largo–Allegro moderato” through the graceful “Adagio” thirdmovement to the ?inal “Allegro vivace.” José Cura led theentirework from the ?irst barswith an incredible innercalm so that not a single moment of the music

disappeared. The orchestra sounded with beautifulintegrity,especiallythetrulybravuraperformanceofthebrass, the entire symphony literally ?lowing in aconsistent stream of music, all without unnecessarilylarge conducting gestures. Such natural and puremusicality is indeed literally rarely heard and given theprolonged acclamation in the hall, I’m sure I wasn’t theonly onewho experienced this exact listening sensation.Of all the previousmusical experiences this season, thisevening certainly ranks among the most memorable.OperaPlus,February2016CurapairedhisMagniXicatwithBach’sworks—spanningtheBaroque to themodern era—for two nights of spectacularmusic-making inČeskéBudějovicebefore conductingOtelloinconcert(Curaalsodesignedthestaginganddirected)ina5,500seatarena.Opera, Otello, Gyor: The performance was conducted bynone other than the world-famous Argentinean operasinger,JoséCura,whoisalsoalegendaryperformerofthetitle role. In thisproductionhenotonlyappearedas theconductor but created the stage direction and stagedesign. When José Cura appeared, the whole Arena fellintosilence…holdingourbreathsoasnot todisturbtheconcentration.ThenJoséCuraraisedhisbatonandbegantodomagic.Thestormarrivedtothestageandthenotesof thestormwereresoundedby theorchestra. After thelast closing notes of the frenetic performance, anincredibleovationandburstofapplausebrokeoutintheauditorium.When José Cura came to bowat the curtaincall,itwasnotenoughforthepeopletoproduceloudnesswith their hands but they also started to stomp on thegroundwiththeirfeet,too.SZK,April,2016In July, Cura did triple duty at the Dubrovnik Festival: heopenedtheeventasconductorinawide-rangingsymphonicconcert,followedthatastenorinagalaconcert,andZinishedtheweekasaphotographerwithanexhibitionofhiswork:Espontáneas.

Innovation and inventionhas been a key ingredient in JoséCura’s conducting programs. Before a sold-out audience inPrague in a concert in support of UNICEF, Cura introducedbold Latino colors and rhythms paired with the energy ofyouth to create an evening of music that set the audiencedancingintheirseats.Concert, Prague: The Prague audience was enchanted.Cura is theresidentartist forFOKand inaddition tohissinging and conducting duties, he managed to devise aprogramofmostly SouthAmericanmusic from the 20thcenturythatcompletely?illedtheSmetanaHall.AlthoughCura prepared everything, he offered a surprise to theaudience:with a single Europeanwork on the program,Ravel’s ‘Bolero,’ Cura invited a young drummer to thepodiumandthensatamongtheaudienceasthedrummerled the orchestra for the entire piece while playing,mastered to perfection. A complete ‘congress ofdrummers’wasfeaturedinthe?inalworkoftheevening,withtheCzechpremiereofthe?ilmmusicfor‘NightoftheMayas’ by Mexican Silvestre Revueltas. During thisbeguiling performance the FOK had help from severalstudents from the Prague Conservatory who coped withthe rhythmically and dynamically challenging partsimpeccably,asdidtheFOKinthisdifferentandunknownpiece.Novinky,December2016Cura closed out his conducting year when he helpedcelebrate the Symphony Orchestra Julià Carbonell (OJC)Terres de Lleida 15th anniversary with a full program ofworksbyBarber,PiazzolaandDvorak.Concert,Lleida:JoséCuratakesthe‘NewWorldSymphony’andtellsyou:thisisnotBrahms!It’sAmerican.It’sdance;it’s swing! The secondmovementwas sensational,withvirtuosityinthewoodsandaneatnessintheexciting?inalchords. Cura did a wonderful job. The strings warmedwithBarber’s‘Adagio’(myGod!)andtheentireorchestra,playing a beautiful Piazzolla tango, didwhat Piazzolla’s

musicalwaysdoes:makeyou fall in lovewith it.Whatawonderfulconcert!Segre,December2016Cura returned to the Czech Republic in March for anothersold-out concert; this time, the constantlyevolvingMaestrobrought with him his oratorio Ecce Homo as a gift to thePrague audience which “has adored him since his ?irstsinging concerts here years ago.” (Novinsky) ConductorCura selected two lesser known works—the intimateGymnopédie byFrenchmanErikSatiewithorchestrationbyDebussyandanespeciallyimpressiveChurchWindowsfromtheItalianOttorinoRespighi.Concert, Prague: The Argentinean singer, conductor andcomposer José Cura selected Prague as the site of theworldpremiereofhisoratorio‘EcceHomo.’OnWednesdayandThursdaythe[audience]inthesold-outSmetanaHallin the Municipal House witnessed two evenings whereCuraexcelledinallareasofhisactivity.NowapproachingEaster,when the theme of the Passion of Christ is againbeingmusically illustrated with famous works from thepast, thenew takeby Curawill certainly takea place ofhonor among them. Cura focuses on the last momentsbeforethecruci?ixionofChristandhisdeath,butinsteadof the traditionalglori?icationheuses thesemoments toreveal the human Jesus Christ. Overall, Cura’s musicallanguage was traditional and understandable, usingknowledge of Gregorian chant, a lot of percussioninstruments,someofwhichwereplacedinthebalcony,sothat the idea of crying and pain was perfect. The lyricscomemainly from thePsalmsand theStabatMater.Theaudience response was tremendous and especially forCura who, as the composer, earned a double standingovation.Novinsky,March2017Ariel Ramírez is one of the most important Argentineancomposers; his two most famous works—Misa Criolla andNavidad Nuestra—are intended for a folk groupincorporating indigenous instruments, but Ramírez himselfexpressed to Curamany years agohis hope that theworks

wouldonedaybedevelopedintovocalsymphonicworks.InOctober,CuraintroducedhisversiontotheworldinPrague,couplingitwiththeworldpremiereofhisownwork,Modus.Concert, Prague: Argentinean singer, conductor, andcomposerJoséCuratwiceofferedaprogramofthesamelistening gems from the Argentinean composer ArielRamirez. ‘Misa Criolla’ and ‘Navidad Nuestra’ werefeaturedinthepremierofCura’ssymphonicadaptionandwithCuraservingassoloist. Thetwootherworksoftheevening, Cura’s ‘Modus’ and ‘Concierto de Aranjuez’ bySpaniard Joaquin Rodrigo, so that the opening of Cura’sthirdyearasaresidentartistatFOKwasat thehighestlevel. Cura began with the premiere of his choralvariation ‘Modus.’ This demanding, albeit short, piecewith its medieval Gregorian choral-like structure waspresentedinademonstrationofthewiderangefromtheMiddleAgestothepresent.Afterthebreak,CuracededhisconductingpodiumtohiscompatriotMariodeRose,andin the world premiere of Cura’s orchestrations of bothRamirez’s works he excited the audience as the soloist.Cura, who personally knew the composer, was given hispermissiontoadapttheworkfromthechamber,folkloricversiontoalargeronefororchestraandchoir.Hedidsomasterfully—he kept a lot of drums and guitar andreplacedotherswithsimilarsounds,asthecharangowithviolinssulponticello.Inthelastpartof‘NavidadNuestra,’CurausedtheoriginalArgentinechauchaorrattles.Theaudience’s response was great and the performersrepeatedlycelebrated.Novinky,October2017Concert, Prague: Colorful, lively, exotic—all that wasexpressedyesterdayevening. SymphonyOrchestraof theCzech Republic City of Prague FOK, together with itsresident artist José Cura and the Prague PhilharmonicChoir,preparedaprogramthatwasnotatypicalconceptof classical music orchestras. The opening was thepremiere of Cura’s ‘Modus’ with chorus, followed by thefamous ‘ConcertodeAranjuez’ and then endingwith thepremieres of the symphonic versions of Ariel Ramirez’s

‘Misa Criolla’ and ‘Navidad Nuestra.’ ‘Modus,’ awork forchorus and orchestra,was inspiredbymedieval Prague;the main idea was the use of a Kyrie from the tenthcentury. Cura worked with a slow increase in tension,achievedbylayeringandgraduallyincreasingthesound.This is a most interesting piece: a simple introduction,where theKyrie is ?irstheardduring the longharvest inthe string worked mystically. It followed a progressionthrough a dynamic climax and a subsequent simpleending. In the Rodrigo concerto, the Prague SymphonyOrchestraFOKcreatedabrilliantatmospherewithgooddynamics, never losing its lightness. I approached thesymphonicversionof‘MisaCriolla’and‘NavidadNuestra’with skepticism; folk instruments have been aninseparablepartofbothworks,lendingthemauthenticityand charm—it would be inappropriate to remove them.José Cura, however, orchestrated the two works withextraordinaryrespectfortheoriginal,withoutsigni?icantinterventions in the composition, and the symphonicversionsupportedeverythingthatwasmostimportant.InCura’s version of ‘Miss Criolla,’ some instrumentsremained, theplucked instrumentswerewittily replacedwiththosetheplayersgrabbedandplayedonlikeguitars.Cura never slipped with an inexperienced pen (as acomposer), and his performance remained earnest andsincere. A Christmas story set in an Argentineenvironment—such is thenarrativeof ‘NavidadNuestra.’It has six parts (the Annunciation, Nativity, Shepherds,Wandering,Threekings,Escape)which, likethepreviousnumber, correspond to Argentine dance. Again, it was avigorousandsoulfulperformanceinwhichthechoir, thesoloist and the orchestra were well understood. TherewasnothingelsetoexpectfromtheArgentineanMaestro.OperaPlus,October2017CuraconductedaconcertofimpressionisticcompositionsinPragueandaconcertofhisownworksinBudapestinMarch.Concert, Prague:Resident Artist of the Prague SymphonyOrchestra FOK José Cura helped the orchestra paint on

wide, impressionist canvases. He started with Debussy’smonstrous ‘Sunken Cathedral’ [and] closed the eveningwith‘PicturesatanExhibit’byModestMussorgskybasedon paintings by Viktor Hartmann. It was a colorfulevening. Cura had set up an excellent program thatreminded us that this year is the centenary of ClaudeDebussy’s death, beginning with the ‘Sunken Cathedral,’orchestrated by Leopold Stokowski. The majestic musiccompletely ?illed Smetana Hall, yet in spite of itsmagnitude, it was played with feeling, slowly changingindividual lines, ?loating in transparent harmony. Thiswas an unusually spectacular piece to start the concert.With the ‘Pictures at the Exhibition’ byMussorgsky, JoséCurawasabletocreatepowerfulmusical images,withafull palette of colors, with the orchestra playing withdense,wide,sometimesromanticsound. Everythingwaspresentedinasensitivetempo,uncommonlydetailed.Theevening ended with the “Great Gate of Kiev” with thesound of glori?ied fanfare, in escalating emotions andindescribable musical energy, using all the colors andtheir shades. I’m sure not a single one was missed.OperaPlus,March2018Concert, Prague: The FOK presented José Cura asconductor at today's concert in Prague's MunicipalHouse.InacrowdedSmetanaHall,heplayedaconcertinhonorClaudeDebussy;“PicturesatanExhibit”byModestMussorgskywasheardasacounterpoint. TheenergeticCura and the Orchestra received huge ovations. CeskeNoviny,March2018

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