JOSE CURA, " Andrea Chenier " -- 2006 скачать в хорошем качестве

JOSE CURA, " Andrea Chenier " -- 2006

JOSÉ CURA, "Andrea Chenier" - Umberto Giordano.- Bologna. 2006 Live from Teatro Comunale di Bologna. - Il Giornale ---- A perfect Andrea Chénier, with José Cura at his best. Cura has put down his baton and returned to the stage in a role that, with his lirico spinto voice and handsome looks, leaves the impression was written specifically for him. His return is marked by newly formed brilliance and expressive new maturity. Cura sings "Improvviso," which is certainly not a piece of candy in its phrasing, lyricism and fervor, with ease and the audience erupted in applause. In his farewell to life, "Come un bel dì di maggio", he offers soaring high notes held with long breath but also softness, mezzo voce and dynamics. — Classical Net ----- This production’s Chénier is the Argentine tenor José Cura. He sang Chénier’s two major arias on his “Verismo” CD, and his performance here remains similar – heroic, yet thoughtful. This is a much subtler interpretation than Mario del Monaco’s and Corelli’s. Cura is handsome, credible, and, at times, quite touching. (I confess to getting choked up during “Un dì, all’azzurro spazio.”) Venue: Teatro Comunale di Bologna in Bologna, Italy Dates: 15, 17, 19, and 22, January, 2006 Japan Tour -- "Andrea Chenier" by Bologna Production Dates: 10, 13, 15, and 18, June, 2006 Andrea Chénier – José Cura Maddalena di Coigny – Maria Guleghina Carlo Gérard – Carlo Guelfi La mulatta Bersi – Giacinta Nicotra La Contessa di Coigny – Cinzia de Mola Madelon – Annie Vavrille Roucher – Carlo Cigni Il romanziero – Armando Ariostini Fouquier-Tinville – Giuseppe Guidi Il sanculotto Mathieu – Mario Bellanova Un “Incredibile” – Pierre Lefebvre L’Abate – Stefano Pisani Schmidt – Atfeh Ziyan Il Maestro di casa – Mauro Marchetto Dumas – Michele Castagnaro Carlo Rizzi: conductor Bologna Teatro Comunale Chorus and Orchestra (chorus master: Marcel Seminara) Giancarlo del Monaco: stage director, set and costume designer Wolfgang von Zoubek: lighting designer Astrid Ascarelli: choreographer — Opera News ----- This 2006 performance finds José Cura fully immersed in the drama of the title role. Chénier’s Act II dialogue with Roucher makes an especially powerful impression, with the poet obviously in agony not knowing the identity of the woman who wrote to him. The tenor offers gratifyingly secure vocalism throughout, giving maximum vocal thrill to all the set-pieces. - MundoClasico ---- Cura was a great protagonist. He presented a fresh, smooth voice in top form. The baritone timbre quality of the role perfectly marries with the middle register and the rise to the high notes, ringing and bright, presented no problem. More detached than shy in the first Act, but always passionate, he brought the house down with “A dì all' azzurro spazio,” a fiery hymn to justice from the true Chénier. “Sì, fui soldado” contained the right amount of vehemence, while “Come un bel dì di maggio” was as poetic as the character. The versatile Argentinian artist gave a generous interpretation that delighted the audience. - L’Opera ---- Chénier returns to the Comunale and the audience becomes inflamed due to the potent and charismatic stage personality and voice of José Cura. Cura never passes unnoticed: he unleashes unconditional love from the audience. He categorically dominates and imposes. Call it pure charisma: when the Argentinian tenor takes the stage, it’s useless to deny it, you just watch him. And it is not just for the figure and the strong, passionate, vehement interpretation but rather for the belief that in singing these verismo roles he manages to convey a certain freedom, almost always uided by an unerring musical instinct, which is their raison d‘être. His amber voice, full-bodied in the center, ringing and vibrant in the high notes, flows generously in a cantabile but not always as neatly as would be desired. Cura indulges in flagrant behaviors, takes notes at his pleasure but also for the pleasure of the audience who applaud and shout out with unusual participation. Any disagreement is quickly drowned out by the roar of success. In short, while this Chénier is more gallant warrior than delicate poet, he is indisputably fascinating. - Music Web International ---- Passion was a keyword for that disc and passion is what [Cura] emits in this role from the very first appearance, with a glowing “Un di all’azzurro spazio.” He sings the furious “Si fu soldato” in the trial scene (act III) with no safety net. The sad “Come un bel di di maggio” in the last act is begun almost as a dream, lightly sung with some embellishments to the line before he opens out to a heartfelt, glorious climax, greeted with ovations from the audience. - Fanfare ---- (DVD) In repertoire that can often encourage excessive histrionics, Cura’s singing, besides demonstrating first-rate intonation and consistent technical security, is also utterly disciplined (listen, for example, to the “Improvviso”).