JOSÉ CURA, " TANNHAUSER " -- Paris version, 2017

JOSÉ CURA, "TANNHAUSER" -- Paris version in Opera de Monte-Carlo in 2017
World Premiere of Tannhäuser in the Paris’s version of 1861 in French,
Live from Opera de Monte-Carlo on 28th February, 2017

A Magnificent Resurrection of Tannhäuser in French
In 2017, the Monte Carlo opera production of Tannhäuser was a world premiere, with Cura debuting in the lead role. As Tannhäuser, Cura offered a glimpse, with his penetrating and metallic timbre, sensitive reading, and indefatigable, charismatic presence, of what might have been had he chosen a different vocal path.
Venue: Opera de Monte-Carlo in Monte Carlo, Monaco
Dates: 19, 22, 25, and 28, February, 2017

For Wagner community, this premiere had a special meaning:
Monte Carlo presented Tannhäuser’ with JOSÉ CURA in the title role!
------- To come right to the point: the result was sensational.!!! -------
The Argentinian, up to now at home only in the Italian and French repertoire, mastered the notoriously energy-sapping role at the highest level. Where his colleagues are happy to just “survive,” Cura is in possession of the broadest imaginable palette of expressions. Cynics might claim of not having heard such a refined performance of this tenor for quite some time, but Cura approached this experience with utmost respect. In the duet with Elisabeth you marveled at his rhythmical precision in the tricky eighth note passages, pushed further forwards by the orchestra in the required “stringendo.” The next tasks, tremendously difficult to master, Cura solved with his musicality. ‘Tannhäuser’ is about singing “Lieder.” Tannhäuser sings to Venus, in hymnal verses, which Cura enhanced from recitative parlando to exalted vocal eruption. He also interrupts the “Sängerkrieg”—unctuously started by the “Landgraf—almost improvisatorially, spontaneously, to work himself up into a rage of passion. In the big ensemble, the sticking point of each interpretation of Tannhäuser, Cura knows how to change the otherwise murderous “Erbarm Dich mein” calls into elegant vocal phrases using the French style of “voix mixte” and remains audible even against the strong competition from the ensemble and the chorus. The mixture of eloquent narrating and extrovert-self-forgetful expression culminates in a “Rome narrative” which increases the tension to unbearable levels.
--- Die Presse

Tannhäuser: JOSÉ CURA,
Wolfram: Jean-François Lapointe
Walther: William Joyner
Elisabeth: Annemarie Kremer
Venus: Aude Extremo
Landgraf Hermann: Steven Humes
Biterolf: Roger Joakim
Henry: Gijs van der Linden
Reinmar: Chul-Jun Kim
Un Pâtre: Anaïs Constans

Direction musicale: Nathalie Stutzmann
Mise en scène: Jean-Louis Grinda
Décors & lumières: Laurent Castaingt
Costumes: Jorge Jara
Chorégraphie: Eugénie Andrin
Chef de chœurs: Stefano Visconti

Chœur de l’Opéra de Monte-Carlo
Orchestre Philharmonique de Monte-Carlo

Opera Lounge --- With Tannhäuser, Cura has conquered yet another role brilliantly. He sang powerfully especially during the harp and hall sections, and offered a Rome narrative with so many nuances that I struggled with tears. Distinguished, with a lot of soft tones and also visually touching performance, Cura was the romantic hero par excellence, a handsome man and an absolute professional, with serious French. Hats off ! This was a memorable evening, a special kind of experience.

Monaco Matin --- In the lead role, JOSÉ CURA offered a heroic voice. The whole of France deserves to see this show with Cura.

Opera News --- One of the surprises of the evening was José Cura taking on a major Wagnerian role. It was a rare treat to hear Tannhäuser without any strained heldentenor posturing; Cura produced a tireless flow of powerful Latin tone, with phrasing that worked better in French than it would have in German, and he was a rugged, vulnerable stage presences.

ResMusica --- JOSÉ CURA, with his very endearing timbre, carries the team forward with his fearlessness.

La Libre --- Monte Carlo opera had the lovely idea of reviving this rarity, an enterprise which offers a great singer who had never wanted to approach Wagner because he hadn’t mastered the German language the occasion of his first role as a Wagner tenor: it is indeed José Cura who embodied a passionate and generous Tannhäuser, more commensurate with the sensuality of the Venusberg than with the rigor of the Wartburg.

WeltExpress --- The musical performance can be spoken of as at the highest level. With José Cura, one has the ideal title hero, convincing in his debut in a Wagner opera. He sang every note and he sang brilliantly. Wagner always demanded 'Italianità' from his singers and that he got from a highly impressive Cura with a flexible voice that was never strained in the high notes. Together with his acting made for an ideal Tannhauser! This was an artistically important project.