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Bass

Steven Humes

Hermann

Tenor

José Cura

Tannhäuser

Baritone

Jean-François Lapointe

Wolfram of Eschenbach

William Joyner

Walther of the Vogelweide

Bass-baritone

Roger Joakim

Biterolf

Gilles Van der Linden

Heinrich the scribe

Chul Jun Kim

Reinmar of Zweter

Soprano

Annemarie Kremer

Elizabeth

Mezzo-soprano

Aude Extrémo

Venus

Anaïs Constans

A young shepherd

Conductor

Nathalie Stutzmann

Stage director

Jean-Louis Grinda

Set designer

Laurent Castaingt

Costume designer

Jorge Jara

Lighting designer

Choreographer

Eugénie Andrin

Chorus master

Stefano Visconti

Opéra de Monte-Carlo

Others

Choeur de l'Opéra de Monte-Carlo

Orchestra

Orchestre Philharmonique de Monte-Carlo

francouzština

Monaco

Salle Garnier

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 Wagner,Richard

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