OP1925. CRISTOBAL COLON (Balada), Live Performance, 1989, Barcelona, w.Alcatara Cond. Teatro del Liceu Ensemble; José Carreras, Montserrat Caballé, Carlos Chausson, Luis Alvarez, etc. (E. U.) 2-Naxos 8.660237/38, Slipcase Edition. - 730099023771
hBoth parts [in the above] had been written by the composer with their respective performers in mind, and thus it was that the singers found themselves with results which fitted like a glove. The opening night found Caballé in fine voice as did Carreras, whose voice rang out with virile power.h
- Robert Pullen, MONTSERRAT CABALLÉ, pp.334-35
"From one of the worldfs great opera houses, the Gran Teatre del Liceu in Barcelona, comes Leonardo Baladafs richly melodic opera about one of the worldfs great explorers, Christopher Columbus, commissioned by the Spanish government for the 5th Centennial of the Discovery of America.
A superb cast, headed by José Carreras as Columbus and Monsterrat Caballé as Queen Isabella of Spain, gained critical acclaim for their performances in what THE WASHINGTON TIMES described as ea masterpiece...a landmark score in the lyric theater of our timef.
Monsterrat Caballéfscareer, which began with a legendary lucky break, would eventually make her one of Spain's greatest sopranos - equaled in status and reputation only by her fellow Barcelonian, Victoria de los Angeles.
- Joseph Stevenson, allmusic.com
gJosé Carreras made his professional operatic début at the age of eleven in Manuel de Falla's EL RETABLO DE MAESE PEDRO. This unique opera, written originally for a puppet theater, has as one of its primary roles an exceptionally difficult part for boy soprano - a part so challenging that it is rarely sung by a child, usually taken instead by an adult mezzo-soprano. After his voice changed, he took up studies with Francisco Puig, then with Juan Ruax, whom Carreras now regards as his eartistic fatherf. At Ruax's encouragement, he auditioned at the Barcelona Liceo and landed the small role of Flavio in Bellini's NORMA. This small break would have enormous consequences, since it brought him into contact with the already-famous Montserrat Caballé, who was very taken with the young tenor and recommended him to her management. The resulting engagement, opposite Caballé in Donizetti's LUCREZIA BORGIA as Gennaro, is now generally considered his real début as a tenor, and helped to launch his career.
Carreras made his American débu in 1972 at the New York City Opera as Pinkerton in Puccini's MADAMA BUTTERFLY. His Covent Garden début (1974) was as Alfredo in LA TRAVIATA, and his first appearance at the Salzburg Festival was in Verdi's REQUIEM at the request of maestro Herbert von Karajan. He first appeared at the Vienna State Opera as the Duke in RIGOLETTO (1974), at the Met the same year as Cavaradossi in TOSCA, and as Riccardo in UN BALLO IN MASCHERA in 1975.
By the age of 28 he had already sung 24 different roles in the leading opera houses of Europe and the Americas. This busy schedule gave rise to some controversy: critics sometimes found his voice strained and complained that he might be overtaxing himself. It was not immediately recognized that this tiredness masked the onset and development of the blood disease leukemia, not diagnosed until 1987, when it had reached an acute phase. It was during his treatment that the Three Tenors phenomenon was born. Having competed ruthlessly with both Domingo and Pavarotti for ascendancy in the world of opera, he now struck up genuine friendships with both men, who supported him during his illness. Their first concert together was conceived as a fundraiser for the newly created Josep Carreras International Leukemia Foundation. It drew a live audience in the tens of thousands and an international viewership of tens of millions. The resulting records and videos were phenomenal sellers.
Carreras has over 50 complete opera recordings . His video biography, A LIFE STORY, which included his battle with leukemia, won an international Emmy award.