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José Cura

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Jean-François Lapointe

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Walther von der Vogelweide

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Roger Joakim

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Gilles Van der Linden

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Annemarie Kremer

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Aude Extrémo

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Anaïs Constans

Un jeune pâtre

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Nathalie Stutzmann

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Jean-Louis Grinda

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Laurent Castaingt

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Jorge Jara

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Eugénie Andrin

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Stefano Visconti

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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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