Whether agreeing with the new book on Cura (see review on page 138) which finds his individuality a blessed relief from the dully dutiful norm, or with Rodney Milnes, who in The Times (May 19th, 1999) said he was in danger of becoming ‘the laughing stock of the operatic world’, most interested parties would concede that he is a somewhat controversial tenor with a more than somewhat magnificent voice. This is heard to good advantage in the new recital, thrilling when in the upper regions, firm and full-bodied in descent. The verismo repertoire could be expected to suit him well, and though he might be thought to lack the squillo, the bright-edged thrust, of the authentic Mascagni tenor, the long and demanding solo from Guglielmo Ratcliff is probably the most impressive item of all.
The conductor is in fact none other than Cura himself. Earlier in the year he performed this dual role, with the same orchestra and with partly the same programme, at London’s Royal Festival Hall. This was indeed ludicrous to watch, and, thankfully, records present only the sound. That, however, is adversely affected by Cura’s liking for some inordinately slow speeds (examples abound in the Pagliacci excerpts) and a way he has of emphasizing orchestral points as though to a class of dunces. Yet he does have things to say. The Andrea Chenier arias have been freshly and imaginatively studied, and the ‘solita storia’ from L’arlesiana takes on a newly thoughtful, almost pictorial, reality. As with his previous collection (of Puccini - Erato, 11/97) , satisfaction is variable, but always there is enough, whether of voice or expression, to fascinate and create an appetite (a thirst perhaps) for more. When a new recital (Verdi perhaps?) comes along to gratify the thirst, please let it be with another conductor, sympathetic certainly but not too indulgent.'