Verismo

Ruggero Leoncavallo (Composer), Alfredo Catalani (Composer), Umberto Giordano (Composer), Francesco Cilea (Composer), Alberto Franchetti (Composer), Pietro Mascagni (Composer), José Cura (Conductor, Performer), Anne-Marie Owens (Performer), Philharmonia Orchestra of London (Orchestra) | Format: Audio CD

Product Details

• Performer: José Cura, Anne-Marie Owens
• Orchestra: Philharmonia Orchestra of London
• Conductor: José Cura
• Composer: Ruggero Leoncavallo, Alfredo Catalani, Umberto Giordano, Francesco Cilea, Alberto Franchetti, et al.
• Audio CD (September 14, 1999)
• SPARS Code: DDD
• Number of Discs: 1
• Label: Elektra / Wea
• ASIN: B00000K2WD
• Also Available in: Audio CD  |  DVD Audio
• Average Customer Review: 3.5 out of 5 stars  See all reviews (22 customer reviews)
• Amazon Best Sellers Rank: #286,255 in Music (See Top 100 in Music)

Track Listings

1. Pagliacci: Prologo

2. Pagliacci

3. Pagliacci: Intermezzo

4. La Bohème:

5. Loreley

6. Andrea Chénier

7. Andrea Chénier

8. Andrea Chénier: Fedora

9. Andrea Chénier: Marcella

10. Adriana Lecouvreur

11. Adriana Lecouvreur

12. L'arlesiana

13. Germania

14. Cavalleria Rusticana: Preludio e Siciliana

15. Cavalleria Rusticana: Addio alla madre

16. Lodoletta

17. Guglielmo Ratcliff

Editorial Reviews

Amazon.com

The thirtysomething Argentinian tenor José Cura has been making quite a name for himself, and he is nothing if not controversial. His appeal is undeniable: matinee-idol good looks, a big, interesting, healthy, dark voice, great musical intelligence, and a gift for communication. But he is often badly prepared on stage and was recently severely booed at opera's mecca, La Scala. His last recording, in which he played Samson, found the top of his voice in tentative shape. But if the remarkable work here is indicative of what he can do, let's just hope that he stays on track. The disc opens, very unconventionally, with the Pagliacci "Prologue"--an aria for baritone! Cura sings it with great feeling and a truly burnished tone--indeed, he sounds like a baritone with easy top notes. But it is his tenorizing that is truly fine here. A series of arias by Mascagni, from the little-known Lodoletta to Cavalleria Rusticana (a truly sensitive reading of Turiddu's plea to his mother) is superb, well-nuanced, and richly told. The "Improvviso" from Andrea Chenier is simply magnificent, which makes one wonder why his phrasing is so choppy in the same character's final act aria, "Com'e un bel di di maggio." This brings up another issue: Cura is also the conductor here. Granted, this makes certain that he'll be singing precisely as he pleases, but more often than not, a conductorial voice is different from--and complementary to--the singer. Cura's judgment calls can be off, as they are in this second Chenier solo. But the singing's the thing, and Cura proves himself again and again--the Adriana, L'Arlesianna, and Fedora arias are also exhilarating. This is a major release, and tenor lovers will enjoy the singing as much as they will the unusual program. --Robert Levine

Product Description

VOLTRON DEFENDER OF THE UNIVERSE CE1 - DVD Movie

Customer Reviews

Most Helpful Customer Reviews

17 of 19 people found the following review helpful:

5.0 out of 5 stars Exceptional Interpretations by Today's Most Exciting Tenor, October 12, 1999

By 

Mary Neuhoff (Los Angeles, CA USA) - See all my reviews

This review is from: Verismo (Audio CD)

Interesting it indeed has been to read Levine's and then the other eight customer reviews of this CD. Before I go a word more into my review, just in case it doesn't become apparent: I think Jose Cura is the best tenor thing that has happened to opera in the last 30 years and that his edge is not those beautiful, perfectly formed, technically correct tones that many must hear or be disappointed, but his interpretation of just about anything he sings just about any time he sings it. And, trust me, I have heard Jose Cura sing an enormous variety of operatic and nonoperatic music.

OK, as to this "Verismo" CD specifically: I don't find his voice any darker here than on the Puccini CD. It IS a dark voice. It is a fascinating, velvety sound. I can understand it not being to everyone's taste. Those who want just "pretty" tenor singing should listen to the likes of Ramon Vargas, whose voice I find glorious, but so far he lacks the capacity to thrill me. Cura, on the other hand, offers in this collection a rich treasure of feeling, from very subtle to overwhelmingly powerful.

"A music fan from Miami" 9/27 suggests Cura "has the tendency to approach almost every aria on the CD in the same fashion: Head on, bluntly and forceful." This is not, as this reviewer says, a matter of opinion; it is simply untrue. There is enormous variety of tone and shading on this disk. The only track that fits this reviewer's description is the "Germania" aria, which is thoroughly-and quite spectacularly-stentorian in delivery. It indeed does sound like he's marching off to war.

"AMFF New York" 9/25 accuses Cura of singing without musicality and suggests he didn't study long enough before beginning his career. I'm not going to argue with anyone who doesn't like Cura's sound or style, because that is a matter of personal taste, but the man is a sound musician who is much respected by the conductors with whom he works. Yes, he scoops (not swoops) sometimes, mostly slightly. But grunts? Come on now! And Cura studied a long time before launching his career at 28.

In sum, I find "Verismo" is an unusual collection of familiar and unfamiliar arias, delivered uniquely by a most enjoyable, ever intriguing singing musician.

7 of 7 people found the following review helpful:

3.0 out of 5 stars An interesting, if sometimes overbearing, release, September 27, 1999

By A Customer

This review is from: Verismo (Audio CD)

Jose Cura has, undeniably, a fine, healthy voice and will, no doubt, have more than a successful career as an opera singer. Notwithstanding, he, in my opinion, needs to work considerably on his vocal shading and phrasing. He is a passionate and powerful singer, two very necessary qualities when singing verisimo, but he has the tendency to approach almost every aria on the CD in the same fashion: Head on, bluntly and forceful. It's all a matter of opinion, I know. I, however, prefer my tenors to sound a little less like they're marching off to war unless, of course, that's what they're singing about. This is a good effort, if only for the rare and sadly neglected arias that are all worth more than they have been given credit for. It is in these little gems that Mr. Cura shines beautifully. His conducting is more than serviceable; only occasionally does one hear a glimmer of his potential in this field. Though he is a genuine talent, I feel it would be in his best interest if he utilizes his vocal prowess in a more intelligent, lyrical and subtle fashion. Incidentally, if anyone is interested in hearing "Addio alla Madre" sung with gut-wrenching ardor and pathos, listen to Bergonzi; I guarantee they'll be a lump in your throat the size of a golf ball.

9 of 11 people found the following review helpful:

4.0 out of 5 stars Absolutely worth listening, November 3, 1999

By A Customer

This review is from: Verismo (Audio CD)

The first indication that Jose Cura is worth listening to is this: it is only mediocre artists that don't stir up any controversy. His voice and acting require time and effort to understand and appreciate. The marketing lately really appears to be shoving him down people's throats a bit, but that's not a sign that he has no abilities to back this hype up.

By no means would I call him the best, particularly in the past 30 years. That would be a gross mistake of discrediting many great artists who will forever hold their place in our hearts (e.g. chronologically, Wunderlich, Kraus, Bergonzi, Pavarotti, Domingo, Carreras). Not that he wants to be compared to the greats yet, modestly saying that he would need to have 30 years of singing to stake his claim. On stage he is exciting and convincing actor, even though he struts around a little too much which is generally expected from Hollywood pretty boys and not from opera singers who are supposed to show more class than that. Only ugly men would feel so bitter that they would critisize his good looks though. A singer should be pleasant to look at as much as to hear him or her sing. Granted, Happner or Margison have good voices, but by being, ahem, large, they are somewhat difficult to imagine as Calaf or Chenier. The case of "looks=stardom" is more applicable to Marcello Alvarez or, ironically, to Andrea Bocelli. Despite all the hype, you absolutely can't accuse Jose Cura of lack of musicality: he obviously gives serious effort to understand and interpret the works in his own unique way. He is not vulgar: unlike the celebrated golden age "screamers" he is able to sing in sotto voice and project nice pianissimos, although his instrument by its very nature would never allow for exquisite tender romantic moments that the Big Three, for example, are able to deliver.

Luckily, Jose Cura knows to stay clear of Donizetti or Bellini for now and focus on what he does best - verismo, the subject of this album. Yes, like many, I feel that he should have gotten an esteemed conductor for this album, thankfully there are still a few who would love to work on this rare under-explored material. On several selections the slow tempi proved difficult even for him to manage. The sobs and sighs have to go, in most cases the composer did not really intend them; often they are appropriate on the stage, but not on studio disc (the laughter in Vesti La Giubba excepted). Generally the program here consists of selections nearly impossible to find elsewhere. Thus, it is hard to compare the character study that Cura offers to others. Overall, this album is a welcome addition to a music library and must be appreciated.