Deutscher Sextourist in Budapest


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Beiträge zur mediävistischen Erzählforschung BIS-Verlag der Carl von Ossietzky Universität Oldenburg. Lindt, Angela 15 August Environmental Damages, Transnational Corporations and Legal Responsibility in Peru's Mining Regions Unpublished.

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In: CGS Forum Bern. Universität Bern. Claviez, Thomas 13 April Grey Metonymy: Contingency and Community in Agamben and Esposito Unpublished. In: Colloquium Philosophy Center.

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Transferring Medieval Manuscript Culture into an Electronic Edition. Digital Philology. A Journal of Medieval Cultures, 6 2 , pp.

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Claviez, Thomas 26 February The Metonymic Community Unpublished. In: CGS Forum "Community". Universität Bern, Schweiz. Claviez, Thomas 2 February Anecdote and Contingency: The Relevance of the Irrelevant Unpublished.

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The program you have prepared with your colleague-performer Linda Ballova and Maestro Tarbuk is interesting indeed, spanning the works from Bersa to Piazzolla.

Cura: I have only performed a couple of times in Croatia, but enough to feel the enormous professionalism of the Croatian musicians and the great energy of its public.

I have never been in Dubrovnik, but I cannot wait to get there because it is well known how beautiful the city is. The program has been done upon the requests of the Festival and the wish of Mo.

Tarbuk to dedicate part of the concert to the Spanish repertoire. Telegram: You have been present on the world's opera stages for decades now.

Have you noticed any difference between your generation of singers and the present-day one? Cura: The differences between the previous generations of singers and the present one, are the same as in the society in general.

Of course, there are exceptions and generalizing is always a risk, but the most remarkable difference is that, while before, fame and quality used to walk together, today, you can be famous even if you are not so good.

Sometimes, even not good at all. And, you know, moment is, per definition, a short period of time… This global phenomenon, results in more and more superficiality in detriment of a deeper way of living.

The consequence: mediocrity as never before, disguised with the blinding light of ephemeral glamour. Telegram: What is your advice to your students in your MasterClasses?

Telegram: To what extent has ambition been the motive in your conducting, singing, directing, producing, composing, set design and photography careers?

Not because I am Madre Teresa, but because doing many things is the best way to earn less money… The fee of a top tenor is a lot higher than the fee of a conductor or a director; if I would be just singing all the time, I would earn much more, yes, but have less satisfaction.

Telegram: Do you always require maximum from both yourself and other participants in every project?

Cura: It is not by putting dictatorial pressure on people that you will obtain the best from them, but by preaching with the example. That is why I have always required much more from myself than from others.

Telgram: What was your experience working on several projects with the great director Liliana Cavani?

Cura: Unfortunately, I have only worked in two productions with Liliana : Cavalleria rusticana in and Manon Lescaut in But those two shows remain among the restricted group of my best shows ever.

Cura: With both, if they are real professionals. You need to win their respect with hard and efficient work.

Do well, and I will follow you; do bad, and I will fight you. Telegram: Directors of today exaggerate in their stagings…. Cura: There are good and bad directors, same as there are good and bad singers, conductors, etc.

Many of those, useless as they are, have great assistants to do the dirty job, while they take the credit. Anyhow, I believe that, same as a good director can make regular performers improve, a good performer will always more or less save a bad director and the show will go on.

Not ideal, but…. Telgram: Do you prefer classical interpretation of operatic parts, or the new and avant-garde ones? Cura: I prefer intelligent readings, no matter the fashion.

Rare, but possible when you are in good hands. Telegram: How important were Horacio Amauri and Vittorio Terranova for the moulding of your vocal skill?

Cura: As important as each person that crosses your life, and even more if it is during your prime growing up period! If that person is, on top, a good pedagog, with a great message to transmit, then it is a dream.

Unfortunately Horacio has passed away not so long ago. Telegram: How much have you been determined by Argentina?

What are the Argentinean people like? Passionate, noisy, powerful…? Cura: A human being that denies his roots is a plant destined to drain… Argentineans are the result of a big cocktail of nationalities and so, as it happens when you mix up ingredients, sometimes the result is delicious, sometimes… not.

I love my country of origin and regret my so little artistic relationship with it: Things that happen when politics and art coil around the same stick.

You can easily guess which of the two is at risk in such an abnormal, still unfortunately very common marriage…. Cura: Nobody can achieve the Diva qualification without hard work and tremendous sacrifices.

Telegram: How much were you flattered for being chosen to lead Sinfonia Varsovia for several seasons as Lord Yehudi Menuhin's successor? What was the experience like?

Sinfonia Varsovia back then, was an impressive group of virtuosi from which I learned a lot. Working with them improved my conducting skills a lot.

Telegram: When singing the Italian repertoire, how important is to know Italy, the mentality of its people and the way they communicate? When singing the Czech repertoire, how important is to stay in Prague, or in Berlin or Munich when singing the German one?

Telegram: What phase are you in today? Telegram: Have some of the roles come in your career too early, when you have not been sufficiently ready for them vocally, and especially physically?

I assume that nowadays you would prepare and interpret them in a completely different way. Telegram: Is it burdening for you when media, music experts and fans expect you to be a star for 24 hours?

Do you have to disappoint them at times? Cura: It might be a problem, yes. It is not true that if you are famous, you will inevitably be subject of harassment, from fans or press.

Telegram: How much burdening is the fact that your entire singing career depends on a daily basis on such a subtle and delicate thing as the human voice?

Cura: As long as it is not your life that depends on ephemeral things, but only your career, it is not a problem. Cura: The true love of a sincere audience is never connected with the technical result of a single performance, but with the degree of commitment you have put in it.

Same applies to the love that grows between an artist and his public. Telegram: Is there a myth that tenors tend to be depressed?

Have you ever suffered from depression? Cura: I have my moments of depression, as every human being whose brain is active… but they are not connected to the business.

How important for you is to give a brilliant acting and not only vocal performance? For me the good acting is condition-sine-qua-non for a good opera performer.

An examination to enter a school where you will be trained to be an opera performer, has to be equally severe both in singing and in acting.

Otherwise, the nature of the career is corrupted in its origin, causing all the problems we know when the time of creating a proper show comes.

Not to mention the fact that an opera performer has also to be a decent dancer, a proper fighter mainly the males, due to the many necessary fighting choreographies of a lot of roles , etc.

Telegram: Do you listen to your intuition? When failing to do so, how many times in your life have you made wrong decisions? Telegram: Your life goes on between taxies, airports, theaters and hotel rooms.

Not as glamorous as many believe it to be. How stressful is such a way of life for you? Cura: A lot. So much so, that I have paid a huge personal price for it, in terms of health, that I only see today, after so many years of nomad life.

Telegram: Are you aware of how many people actually stand behind your name and the Cura brand? Do you feel responsible for the team of people working for you, who live on your name and status in the long run?

Cura: I think you are exaggerating with this statement. From the moment I stopped being a product to become an artist in my own right, I lost the interest of those whose only scope was to make money.

On the contrary, I have gained the respect of those who identify with my moral. So far so good! Telegram: One of your most distinguished roles in recent seasons is Otello, which is a pinnacle in your line of work.

What comes after it? Cura: Tanhauser in January and Peter Grimes in May of the same year: Two completely different challenges that I expect will add a whole new dimension to my career.

Cura: Denying the importance of money to cope with the everyday realistic needs, is hypocritical, but thinking that money will solve all your problems, is idiotic.

Telegram: How do you relax after a performance? Do you have a glass of wine? Do you enjoy food…?

Cura: The number of times you just go back to your hotel room and eat peanuts because the restaurants, or the room service, are closed, is larger than people think.

One of my preferred situations, though, is to share a table after the show with those who have worked with me, and cool down together.

Telegram: Is your day still too short, in spite of lasting from seven in the morning till after midnight? Cura: Always, and the older I get, the worse.

When you are young younger, in my case… , each day is an entity you can count and remember. But the older you get, the more time becomes soluble: Months, weeks, days, melt together in a continuum, at an always faster speed.

The feeling of not being able to finalize all those things I want to leave behind me, my legacy, so to say, makes me crazy… On top of my everyday work as a performer, I am now working on a huge book dedicated to a better understanding of Othello and also revisiting my old compositions for their imminent premiers: My Magnificat was premiered last February and my oratorio Ecce Homo is to be performed for the first time in March in Prague.

Telegram: What have you given up because of your career? Cura: Contrary to what people think, if you make an effort, you can perfectly balance your family life with your career.

It is not easy —in the sense that, when I had a couple of days in between performances, instead of resting, I was always on the first plane back home, and also, I have refused many productions when they could fit the schedule, to my need of seeing my family at least once a week—, but not impossible.

Of course, I have lost things, but altogether I was always there in the important moments and the proof is the great adults my children are today.

Not to mention that I have been happily married for 31 years: An unusual fact indeed in this business… Where I feel the burden of my hectic public profile of the past, is in not having had the chance of cultivating big friendships, being my best friends still those I left behind in Argentina 25 years ago, and who I miss an awful lot.

Today I truly regret it and, in trying my best to fix my error, I discover how lucky I am to be surrounded by amazing human beings who where just waiting for the right moment to get close; a very rewarding feeling that confirms, once more, that in life, you harvest what you have planted.

Cura: The kind of hands you have is not just a physical thing, but a mental attitude…. Telegram: As a photographer, you take photographs of people you do not meet in your career, including quite ordinary, often unhappy and lonely people, whom destiny has not treated very kindly.

Cura: One of the most valuable qualities of a person is to be able to observe the world and to capitalize the conclusions of such observations, good ones and bad ones.

First hand struggle, or at least a great sensibility to understand others vicissitudes, is a must for a good actor. Telegram: Are you worried about the future of your children?

Wearing the name Cura, many doors will perhaps open for them easier and faster, but, under the burden of your name, status and popularity, it will be more difficult to prove themselves….

Online Merker. Renate Publig. The world premiere of his "Magnificat" followed in Prague in December , just before the start of and he literally entered the new year full of news.

The French language, however, was not only familiar to me in terms of phrasing but above all in terms of articulation. The combination of word and body language is extremely important to me, and there can be no adequate body language without mastery of the language.

Communicating Wagner's powerful musical rhetoric, combined with a theatricality that remains credible, is a great challenge!

For years, Cura held back the release of new CDs. Why now - and why songs from Dvorak? To test the cooperation with digital platforms, I first start with an existing recording.

But of course this recording is remixed, and finally recording sounds as I imagined! In addition, the download contains a digital booklet on ITunes, the introduction can now be read in Chinese, Arabic and Japanese in addition to the popular European languages.

The lyrics are in English. Of course, the choice of the composer also has to do with a collaboration that has matured in recent years: in , the Prague Symphony Orchestra invited Cura to become Artist in Residence.

Since then he has regularly conducted this orchestra in programs he compiled. I still remember the recordings, the challenge of singing this wonderful music in a language that is completely foreign to me.

Of course, at that time I had a language coach, because the Czech presented me with puzzles: I had to sing four syllables, with a word with two vowels.

The coach's answer was very simple: 'Sing the consonants and keep going'! Ecce Homo - world premiere Prague. Cura composed the oratorio Ecce Homo composed Cura in for a fellow colleague; for the premiere, however, lacked the funding so the work landed in a drawer for a long time.

Why he chose this text:. I have always been touched by the life of Christ, his last words on the Mount of Olives, but beyond that the connection between man and God: embodied in the human dimension of Christ, who is the Son of God in the Christian faith.

It would take a while, almost 30 years, before the work would be heard. What does it mean for a composer when the notes on the paper are first turned into real sounds?

It is something very special for a composer to hear his work for the first time. When we compose a work, we naturally hear and feel the music in our heads, we imagine how the work must sound.

But everything is just a fantasy in our brain. When you actually hear the music then it's like a shock - a positive shock.

Some things sound like you imagined it, others work less - you correct that. So, if geniuses like Mahler were constantly correcting his works, you can imagine how often we little composers, who just want to turn their ideas into sounds, correct ours.

For Ecce Homo I was positively surprised how little I had to change! Peter Grimes. Three months after Tannhäuser was another role and professional debut as Peter Grimes in the eponymous opera by Benjamin Britten.

In this production, Cura not only sang the lead role, but also took over the direction and stage design. First, I look at the plot—and then I design the space in which history can unfold.

His previous directorial work were from his "familiar" repertoire—does the dual function pose a greater challenge when it comes to a new subject?

But I've been dreaming of singing this role for a long time. And of course there are critical voices about this personal union. You can, of course, reject my work, my interpretations but nobody can question the seriousness, the professionalism, behind my work.

The team spirit—during the final applause Cura brought the entire crew, including the stagehands in front of the curtain—were confirmed by reviews to the singer and director as well as the meticulous work on a gripping and authentic production.

Thus, the General-Anzeiger Bonn writes: "It works here as an elemental force in which song and performance form a gripping unity. Both in the most lyrical moments of the aria "Now the Great Bear and Pleiades" as well as in the mad scene in the third act, in which he makes the whole soul of Peter Grimes with his Otello-hardened voice audible and perceptible.

The hunt for the unfortunate fisherman in the last act became a haunting and disturbing moment with the bloodcurdling "Grimes" cries of the angry villagers, which is further enhanced by Cura's convincing stage management.

Gerth, Das Opernglas. Let's take a look into the future: Will there be more new roles? There's another opera I'd love to sing, and that's Pique Dame , but I'm afraid Tchaikovsky will escape my artistic greed because of the language barrier.

We know that back in the day, when you were starting your career at Teatro Colon in Argentina, you were rejected at first.

Do you feel the satisfaction? When did you first begin to recognize this? Is there anybody who is prophet in his own land when he is young?

I can make you a list with the names of the many good Slovakian singers I know who are not being recognized in your country.

Some of them are even cheated by your promoters, by making them work without paying them after… So, no country can cast the first stone!

Today, I am accepted by most of the public in my country, while I am pretty much fought back by some of the establish cultural media that still leaves with its head in the past.

Legendary Mirella Freni never gave me any private lesson. But I have learned from her in the best of ways: Being her partner on stage and watching her amazing technic from a privileged short distance.

The best of lessons! What is the story behind you and this opera? When did you first learn about it and why has it appealed to you so much?

In , the Teatro Regio di Torino told me Mrs Simonetta Puccini, the last heir of Giacomo, has decide to make public the manuscript of the 4th act of Edgar.

The fact is that Edgar, in its 1, 2 and 3rd acts, is not a great opera. What are you displeased with? What could have been done differently?

I was, and I still am, not pleased with the way this DVD was cut, both the images and the music. The recording quality is very good and deserved, considering the historical event, a more careful work.

I have never approved this version, sending a long list of things that could be improved. Is there another less-popular opera that you think deserves similar attention and you would love to help promote?

So, two great honors within 14 years of distance. Minute-money is the only thing that moves the world today…. What stands out the most to you in the world of music in the past year?

If tonight were the last night in your career for you to conduct opera , for whatever reason, which title would you choose? And, if it were your last night as a singer, what role would you choose to sing and why?

Thank you very much. Budapest - The Artist as a Part of Society. Daniel Elder. Standard: Mr. Cura, you have different approaches to music.

You have studied piano and composition, started conducting at 15 and only much later began to sing.

Is it sometimes difficult to switch between these approaches? Cura: I do not think that I should switch, but that all of these activities interact.

It is very interesting that no one is surprised when an instrumentalist starts to conduct, but everyone is when a singer begins to do so.

Unfortunately, a singer has for many years been viewed not as a musician but only as someone is lucky enough to have a voice.

Today there are many singers who are real musicians. And as a result, as a singer, you presumably have different approaches to phrasing and breathing music.

Standard: Is it for different at the opera or at a Christmas Eve proceedings? Do you see any difference between art and event?

Cura: We use these traditional concerts especially to be present in the society. It is one thing to be staying in town as a guest artist and to appear in the concert hall, another to feel as if you are slowly beginning to belong to the people of a country.

To participate in a Christmas celebration has to do with an informal feeling: the artist becomes part of the society and is not just someone who comes and departs again.

This concert shows this difference. It is beautiful for an artist to identify himself with many people, not only those who go to the opera, but also those who switch on the television to hear Christmas carols.

Standard: Entertainment as an art, not only for the elite? Cura: When one says this, it means one thinks just the opposite. Artists are there so that the audience feels good and happy.

That means that we artist must return to our roots and ask ourselves what it means to be an artist - a person from the society who is there to maintain the society.

If we only look at it as a business, we lose contact with reality. We must do both: I must pay my bills, but must also have the good feeling of being part of a whole, as a doctor, lawyer or journalist, and not just an isolated individual.

Sorry, but a normal ticket for the Vienna State Opera is a lot cheaper than a ticket to a football game. Standard: A big issue today is the dangers for young singers who sing too much.

Cura: That was also a danger for me when I started. In many cases, we lose great talent because they burn-out before they go far.

In this respect, the music business is very brutal. This is a question of control and it is very difficult because young people are afraid that the dream may end once they say no.

I thought to myself today: perhaps those who survive are the stronger, better able to remain on track - a kind of natural selection. But that is very dangerous and also very sad.

Standard: What is Christmas to you? Cura: I come from a Catholic family, and Christmas is for us an important date.

Individualism is strong today, and Christmas is a day on which all at the same time are thinking the same way. We should exploit that and send a message of peace, love, send a dialogue.

That is something we have lost today. We no longer speak with each other, but rather send SMS. We are not even talking on the telephone with each other because it means a direct confrontation.

If you send someone to hell, you send an SMS. At Christmas at least give all at the same time a kiss. If we succeed in bringing that into everyday life, then this festival means more than mere folklore.

We do not need more folklore. September What is your relation with France nowadays? I have lived in Paris for 5 years But today, I have no particular relation with France anymore.

No more than with any other country. I have a closer relationship with Spain, the country in which I live; with Portugal too, because I am the Founder of the Society against Leukemia and I thus perform another kind of work, extra-musical.

You are giving master-classes in Nancy during this period. In the past we have seen stars, a bit aging, in the role of the teacher But a tenor, on the summit of his art, benefits from what when teaching?

It's not me who proposed doing the master-classes. In Argentina, we say: "you must never give advice if you are not asked for it. But I came with pleasure because I have been giving master-classes for four years already a bit everywhere around the world.

I gave some in conservatoires in Russia, in Moscow, in Yekaterinburg, but also at the Royal Academy of Music in Indiana and again in Buenos Aires.

I thus spend a lot of time teaching, because it is, I believe, the only way to assure that our profession is passed on.

Hence being a compulsory path for "old singers"; but why not do it at my age if am I asked to? Being named Professor at the renowned Royal Academy of Music, as selective in the choice of its students and its teachers, doesn't happen either - normally - before you turn 60!

I see in this title an honor and a confirmation. Who have been your masters? And what have they taught you? I am a rebel of classical music.

I have thus never followed a particular master, never had a fixed relation with one and only teacher. I have always drunk directly from the fountain I needed to drink from in the moment I needed to do so and judging from the amount of authority I saw in the teacher.

That is why, when I am asked for master-classes, I always insist on working on pieces from my own repertoire.

It is only this way that we can transmit veritable experience, acquired in a specific domain. Omniscience doesn't exist. We know your international success not only as a tenor but also as a conductor.

There is a notable memory of one evening in Hamburg in which you sang Canio after conducting Cavalleria. By doing this, are you looking for a global, absolute vision of Opera?

Terminology English — German culture and religion Part 2. Style switcher RESET. Body styles. Original Contrast Modern Pastel. Link color. English US.

German DE. European Interim Agreement on Social Security other than Schemes for Old Age, Invalidity and Survivors.

Vorläufiges Europäisches Abkommen über Soziale Sicherheit unter Ausschluss der Systeme für den Fall des Alters, der Invalidität und zugunsten der Hinterbliebenen.

European Interim Agreement on Social Security Schemes Relating to Old Age, Invalidity and Survivors. Vorläufiges Europäisches Abkommen über die Systeme der Sozialen Sicherheit für den Fall des Alters, der Invalidität und zugunsten der Hinterbliebenen.

Agreement on the Exchange of War Cripples between Member Countries of the Council of Europe with a view to Medical Treatment.

Abkommen über den Austausch von Kriegsbeschädigten zwischen den Mitgliedsländern des Europarats zum Zwecke der ärztlichen Behandlung.

Allgemeiner Ausschuss für die Arbeitssicherheit und den Gesundheitsschutz in der Eisen- und Stahlindustrie.

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