Name: Turandot
Start: 2006-04-09T00:00:00.000Z
End: 2006-05-03T00:00:00.000Z
Location: Opernhaus

Organization

Soprano

Paoletta Marrocu

Turandot

Elena Mosuc

Liù

Tenor

José Cura

Calaf

Bass

Pavel Daniluk

Timur

Baritone

Gabriel Bermúdez

Ping

Andreas Winkler

Pang

Boguslaw Bidzinski

Pong

Peter Straka

The Emperor Altoum

Valeriy Murga

A Mandarin

Conductor

Alan Gilbert

Stage director

Giancarlo Del Monaco

Set designer

Peter Sykora

Costume designer

Lighting designer

Hans-Rudolf Kunz

Chorus master

Jürg Hämmerli

Opernhaus Zürich

italijanščina

Zurich

Switzerland

Opernhaus

JOSÉ CURA, "TURANDOT" at the Opernhaus Zurich in Zurich, Switzerland in 2006 

In 2006, JOSÉ CURA brought Calaf to life in the Opernhaus Zurich's production of Puccini's Turandot. Representing contemporary sensibilities, Cura easily parodied the stereotype of macho lover with a deft, witty approach that delighted the audience. His impeccable comic timing, most notably in the famous Act II riddle scene where his comedic instincts were inspired, sent ripples of laughter through the auditorium. Cura reprised the role in Zurich in season 2006/2007 and again in 2007/2008. 
Venue: Opernhaus Zurich in Zurich, Switzerland
Date: 9, 12, 19, 21, 25, 28, 30, April & 4, May, 2006 

Turandot: Paoletta Marrocu*
Calaf: JOSÉ CURA 
Liù: Elena Mosuc   
Timur: Pavel Daniluk
Ping: Gabriel Bermúdez
Pang: Andreas Winkler
Pong: Boguslaw Bidzinski
Altoum: Miroslav Christoff
Mandarin: Valeriy Murga 

Musikalische Leitung: Alan Gilbert
Inszenierung:  Giancarlo del Monaco  
Ausstattung: Peter Sykora
Lichtgestaltung: Hans-Rudolf Kunz
Choreinstudierung: Jürg Hämmerli

Vox spectatricis ---- The Calaf of José Cura was outstanding. At this time no other tenor can so easily master this role. The bronze, baritonal voice coloring, paired with an incredible expressiveness and vocal strength and, when necessary, with softness, inspired storms of enthusiasm. The nonchalance in his acting and the ease with which he took the high notes made him the winner of the evening.

Concertonet ---- José Cura made a strong impression as Calaf. The Argentinian tenor sang with dark and vigorous tones and easily launched high notes, even singing “Nessun dorma” lying on his back! He showed scrupulous attention to style and score, and he had no problem playing the macho lover required by the staging. 

Ópera Actual ---- His imposing presence made us think the opera should have been called Calaf, but much of his macho self-approval can be easily pardoned thanks to the charisma that characterizes this artist and the almost overwhelming brightness of his vocal projection. 

Opera Now ---- I had expected a generous and committed physical performance; I hadn’t anticipated an impeccable vocal one, too. A well-nigh perfect “Nessun dorma” capped an exciting interpretation that played well to Cura ebullient Action Man strengths.

nemščina

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