Gianni Schicchi: Avete torto! - Firenze è come un albero fiorito
Il Tabarro: Hai ben ragione
Il Tabarro: Io voglio la tua bocca - Folle di gelosia
La Rondine (Act I): Parigi! è la città dei desideri
La Rondine (ActIII): Dimmi che vuoi seguirmi
La Fanciulla del West (Act II): Una parola sola - Or son sei mesi
La Fanciulla del West (Act III): Risparmiate lo scherno - Ch'ella mi creda
Madame Butterfly (Act I): Dipende dal grado di cottura - Amore o grillo
Madame Butterfly (Act III): Addio fiorito asil
Tosca (Act I): Recondita armonia
Tosca (Act III): E lucevan le stelle
La Bohème (Act I): Che gelida manina
Manon Lescaut (Act I): Tra voi, belle
Manon Lescaut (Act I): Donna non vidi mai
Manon Lescaut (Act II): Ah, Manon mi tradisce
Manon Lescaut (Act III): Ah! non v'avvicinate! - No, pazzo son
Manon Lescaut (Act IV): Manon...senti, amor mio - Vedi, son io che piango
Edgar (Act II): Orgia, chimera dall'occhio vitreo
Le Villi (Act II): Ecco la casa - Torna ai felici di
Good tenors are always in short supply, a particularly lamentable circumstance given the great demand for them in the operatic and symphonic repertoire. Thus, the advent of a good young tenor is always cause for rejoicing.... more » A tenor of the caliber of Jose Cura--a composer, conductor and guitarist as well as a singer--is really good news. There is nothing wimpy about Cura's singing, nothing strained; he sings with baritonal beef and strong, chesty high notes. A protege of Placido Domingo, he shares some qualities with the older tenor, but is definitely an artist with something to say for himself. This is a career to watch. --Sarah Bryan Miller« less
Good tenors are always in short supply, a particularly lamentable circumstance given the great demand for them in the operatic and symphonic repertoire. Thus, the advent of a good young tenor is always cause for rejoicing. A tenor of the caliber of Jose Cura--a composer, conductor and guitarist as well as a singer--is really good news. There is nothing wimpy about Cura's singing, nothing strained; he sings with baritonal beef and strong, chesty high notes. A protege of Placido Domingo, he shares some qualities with the older tenor, but is definitely an artist with something to say for himself. This is a career to watch. --Sarah Bryan Miller
"This is a very impressive and promising debut recital of Puccini operatic arias by the young (born 1962) Argentinean tenor. Cura has a virile, dark, baritonal spinto voice with good heft and some real metal/squillo in it, and at their best (e.g., Nessun dorma) his high notes are vibrant and compelling. While it's difficult to judge the size of a voice solely from recordings, he may be a true tenore di forza, that rarest breed of tenors, and if so that is good news, because there hasn't been a decent one since Del Monaco and Corelli. Like Del Monaco and Corelli, his voice is better described as exciting than as beautiful. Indeed, Cura's voice reminds some listeners of Del Monaco's, although he sounds to me like he might prove to be a more interesting and imaginative singer than Del Monaco (to me Del Monaco usually sang like a bull in a china shop, and I never found his occasional big moments enough to offset the frequently crude, insensitive phrasing and inability to sing at any dynamic level but loud or louder). Cura's singing here is gutsy and full-blooded, but he is also capable of sensitive phrasing and soft singing. His breath control is admirable and he is able to sustain some long phrases. His recording of Nessun dorma is stunning, one of the best I've heard, and the best performance on this CD. Unfortunately his high notes are not always this good; sometimes they are not cleanly attacked or well placed, and sound somewhat strained. The CD is well recorded (in 1997) and contains 21 Puccini arias, an unusually generous (71 minutes) and comprehensive collection that includes, besides all the standard ones you'd expect (and no less than five from Manon Lescaut), Gianni Schicchi, Il Tabarro (2), Edgar, and an extended scena from Le Villi.On the strength of this CD I bought Cura's next two operatic recitals, Verismo Arias (1999) and Verdi Arias (2000), and I regret to report that I am less impressed with either of them than with this Puccini recital. But this disc can be confidently recommended."
ernest schwarcz (firstname.lastname@example.org) | 07/08/1999
(5 out of 5 stars)
"At last we have a tenor who can make the very hairs rise on the back of your neck.My God what a voice! Of course we are all aware of the Puccini favourites such as Nessun Dorma and Stelle ,but this wonderful disc has introduced me to the composers other operas such as Manon Lescaut and Gianni Schicci which have become favourites of mine. I had the pleasure of seeing Cura in concert and meeting him afterwards,and he sounds as amazing live as he does from the recording studio. My favourite Puccini aria is Che Gelida Mannina and this was the first track I played.I was awestruck.Not since Domingo had I heard such a beautiful interpretation of this aria.Curas robust ,baritonal tenor soars magnificently to a ringing high C. His mezzo-voce opening to Stelle is heart breaking and is not only one of the most beautiful I have ever heard but THE most beautiful. People have accused him of not having the ringing top of Pavarotti in Nessun Dorma.Rubbish.Pavarotti is Pavarotti and Cura is Cura.Two completely different artists and equally as credible. A word about Domingos conducting.Wonderful.The tempos are always perfect , and who else knows this repetoire better than Maestro Domingo? I am a tenor in training myself and I hold these two great artists as my role models.If we continue to produce artists such as Cura ,opera has a bright future.Bravo. P.S. A note to Signor Cura .Please record Carmen soon!!!!!!!!!!"
David A. Kemp | 06/22/1999
(5 out of 5 stars)
"Tenor Jose Cura is not a newcomer to the world of opera, just to opera on record, so his treatment of these arias attests to large experience and great care for Puccini's music. So does Placido Domingo's thoughtful supportive conducting. These qualities separate this remarkable album from those of amateurs like Bocelli. Cura's voice is reminiscent of Del Monaco's, a ringing lirico-spinto with slightly "metallic" upper notes and strong expansive lower register. This makes it ideal for most of the dramatic/heroic tenor repertoire, although it would be difficult to imagine such voice in Donizetti roles. However, I would love to hear Cura's rendition of Verdi, I've always been fascinated with "darker coloring" of Verdi's characters, for example Domingo's Otello or Carreras' Stiffelio. Such voices bring out hidden connotations in familiar pieces. Cura's attention for detail in every one of virtually all of Puccini's arias is endearing; it's as if he invites the listener to enjoy Puccini as much as he does. His phrasing is clear and polished, breath control is excellent and not forced, as though to say "there's more where that came from." Among the midst of various "new " tenors, this one is to watch for. A word of caution, let's hope he sticks to classical repertoire for now since this is what he does best. Anhelo was okay, but I wait for "Verismo Arias"!"
Jose cura - the new supertenor
ernest schwarcz (email@example.com) | montreal, canada | 12/01/1998
(5 out of 5 stars)
"rarely within the past 20 years has a tenor made an impact on the entire opera scene like the young argentinian jose cura.for now (regrettably) there's only a puccini collection available with cura, but what a CD! it's one of the most comprehensive collections of puccini tenor arias in years, and includes (apart from the famous pieces from tosca, la boheme, manon lescaut, and yes, even nessun dorma :) ...) lesser known but gorgeous gems from gianni scicchi, il tabarro and others. incidentally, placido domingo is the conductor.jose cura's voice ... ah, the voice. remember mario del monaco? cura reminds one of the young del monaco. it's a big voice, with immense power yet exceptional control. it's not as flexible and ringing as pavarotti's, not as sweet as domingo's, not romantic like carreras'. but it has qualities none of those guys have: the depth (yes, depth...for a tenor anyway), the passion, the delivery, the control. it's a huge voice,too.there are elements of del monaco but also of franco corelli's delivery technique, bergonzi's control, tuckers's attack. staccati are remarkable for a dramatic / heroic tenor, legati flow with ease, power and musicality. no problems with the high c, either. rodolfo, kalaf, cavaradossi, des grieux: the top notes are safe and immensely powerful, almost triumphantly so.this voice will be heard a lot in the future. as radames, vasco da gama, don jose, manrico, kalaf, samson, cura will be matchless for a long time.maybe i'm a bit biased (not being a great fan of any of the three tenors in their present state of aging), but jose cura would have been a truly sensational newcomer even 10 or 20 years ago. by today's standards, he's outstanding and, at 36, destined to be the world's greatest tenor within a year or two (in my opinion, he already is - alagna, heppner, domingo notwithstanding). watch out for new opera recordings with jose cura; they will be phenomenal."
Who switched my glass?
katia38 | usa | 01/11/2002
(4 out of 5 stars)
"Handsome young tenor, Puccini, Domingo conducting-I figured I was safe. When the first notes came out of his mouth I was startled! I actually jumped! Instead of the sweet, sparkley sounds of all my other favorite tenors here was this dark, muscular, mysterious voice. It was like hoisting your glass expecting spumante and someone put kahlua. It took me a while to get used to him and I am not enthralled with the way he "steps" up to the notes but this is a voice that can slay dragons, rescue damsels and banish bad guys. Even better is his Argintine folk songs album. His voice sounds warmer and more comfortable and the arrangements give a broader taste of his musicianship. Plus he used some of Pablo Neruda's work...but that's another day!"