# MEZZO/CONTRALTO TOURNAMENT (Round 1, Match 3): Simionato vs Podles



## Bonetan (Dec 22, 2016)

Giulietta Simionato, Italy, 1910-2010






Ewa Podles, Poland, 1952-






'Nacqui all'affanno' from Rossini's _La Cenerentola_.

Who's singing did you prefer and why?


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## Seattleoperafan (Mar 24, 2013)

Of course Simionato delivers world class singing, but Podles simply dazzles. Her highs and lows are stronger, the tone more beautiful and the coloratura a notch above Simionato. This was early in Podles international career and the first famous recording of hers. Her voice got even more chocolaty over the next decade without losing her better than Marilyn Horne high notes. Her only fault was her 1950 Warsaw acting and the jerky way she moved her body singing coloratura as the years went by. The end result was worth it, though. Simionato would have looked smashing and acted very well onstage. She had a figure like a Hollywood siren in her prime. That would have counted in a video version of both arias.


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## Woodduck (Mar 17, 2014)

Neither of these ladies is ideally suited to this role. Simionato's top is not easy enough, her coloratura not precise enough, and her timbre not pure and youthful enough, to yield a convincing Cinderella. Podles doesn't sound youthful either, but she does sound fresher, and is superior to Simionato in other respects.


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## Tsaraslondon (Nov 7, 2013)

My favourite Cenerentola is the radiant Frederica Von Stade, who appears in the Ponnelle film. It's a difficult role to pull off, and most dramatic mezzos sound as if they could have eaten the two sisters for breakfast. There's a lovely version of this aria by Victoria De Los Angeles, who, though a soprano, had a rich and beautiful lower and middle register, and I often wish she had recorded the role. Others I enjoy are Berganza and DiDonato, and, with reservations, Agnes Baltsa, who mostly manages to scale down her big voice and personality, but it is not really the province of those mezzos who are happier as Amneris, Eboli or Azucena.

Of the two we have here, I prefer Podles because her coloratura is easier and her top register under less stress, so I'll give the vote to her. That said I wouldn't choose either as my ideal. They both lack sparkle and charm, which is a prerequisite of this role.


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## Allegro Con Brio (Jan 3, 2020)

I thought both voices sounded too dark, heavy, and somewhat ungratifying to the ear on those high coloraturas. Podles has the more striking tone - almost countertenor-ish in the low range - and perhaps a bit more agility, so I give my vote to her, but I agree with others that neither performance really convinced me.


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## Seattleoperafan (Mar 24, 2013)

Tsaraslondon said:


> My favourite Cenerentola is the radiant Frederica Von Stade, who appears in the Ponnelle film. It's a difficult role to pull off, and most dramatic mezzos sound as if they could have eaten the two sisters for breakfast. There's a lovely version of this aria by Victoria De Los Angeles, who, though a soprano, had a rich and beautiful lower and middle register, and I often wish she had recorded the role. Others I enjoy are Berganza and DiDonato, and, with reservations, Agnes Baltsa, who mostly manages to scale down her big voice and personality, but it is not really the province of those mezzos who are happier as Amneris, Eboli or Azucena.
> 
> Of the two we have here, I prefer Podles because her coloratura is easier and her top register under less stress, so I'll give the vote to her. That said I wouldn't choose either as my ideal. They both lack sparkle and charm, which is a prerequisite of this role.


You have a more rounded opinion on this round, but you have seen a LOT more opera in the theater than I have and know the language. My memories of the opera are dim and since I mostly listen to isolated arias I think more in terms of the voice itself and not the part the singer is singing. Instances like this show up my short comings;-)


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## nina foresti (Mar 11, 2014)

Both wonderful voices. Podles with her natural chest tones that can't be beat and Simionato with her stunning musicality that is hard to contest.
I have always been partial to Simionato's voice even though I thoroughly respect that of Podles' sound and her dramatic efforts.
So Giulietta it is.


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## Dimace (Oct 19, 2018)

Tsaras & Wood have written everything for both GREAT Ladies. For me, the outcome of both videos is a little bit ''heavy'' and reminds me no heroines of Rossini, who, generally speaking, MUST have the famous Leggerezza > Leichtigkeit. To tribute the memory of my beloved *Giulietta* and everything has given to the opera, I will vote for her, but, honestly speaking, Ewa is marginally better.


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## Azol (Jan 25, 2015)

Neither of the two (otherwise gorgeous) ladies is a perfect fit for the role. Based on pure coloratura technique and amazing chest register I must vote Podles even though listening to her Cenerentola I'm thinking about Tancredi, no less.



Tsaraslondon said:


> My favourite Cenerentola is the radiant Frederica Von Stade


:clap::clap::clap:



Tsaraslondon said:


> most dramatic mezzos sound as if they could have eaten the two sisters for breakfast


Amazing quote, will definitely take note!


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## BalalaikaBoy (Sep 25, 2014)

overall, Simionato is the better singer, but Podles wins here due to the reasons already mentioned (stronger on both the top and bottom, much cleaner coloratura). with that said, I think Podles sounds much more convincing in this recording. more bright, youthful, less woofy technique.






though better than both imo is Agnes Baltsa


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## Seattleoperafan (Mar 24, 2013)

BalalaikaBoy said:


> overall, Simionato is the better singer, but Podles wins here due to the reasons already mentioned (stronger on both the top and bottom, much cleaner coloratura). with that said, I think Podles sounds much more convincing in this recording. more bright, youthful, less woofy technique.
> 
> 
> 
> ...


I had no idea Podles was ever a cute thing!!!!


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## Woodduck (Mar 17, 2014)

BalalaikaBoy said:


> overall, Simionato is the better singer, but Podles wins here due to the reasons already mentioned (stronger on both the top and bottom, much cleaner coloratura). with that said, I think Podles sounds much more convincing in this recording. more bright, youthful, less woofy technique.
> 
> 
> 
> ...


Baltsa is really wonderful. With singing like that I actually enjoy Rossini.


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## BalalaikaBoy (Sep 25, 2014)

Woodduck said:


> Baltsa is really wonderful. With singing like that I actually enjoy Rossini.


yeah, even in the past, most Rossini singers weren't that good. now they're all awful


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## Woodduck (Mar 17, 2014)

BalalaikaBoy said:


> yeah, even in the past, most Rossini singers weren't that good. now they're all awful


Joyce DiDonato? She seems pretty good to me, though I admit to not keeping up with who's who in this fach.

It's my impression that we have more tenors competent in Rossinian coloratura than we had when every new Rossini recording featured Luigi Alva.


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## Tsaraslondon (Nov 7, 2013)

Woodduck said:


> Joyce DiDonato? She seems pretty good to me, though I admit to not keeping up with who's who in this fach.
> 
> It's my impression that we have more tenors competent in Rossinian coloratura than we had when every new Rossini recording featured Luigi Alva.


DiDonato is an excellent Rossini singer, and coincidentally a wonderful Cenerentola.

As for the tenors. Just look at the sorry bunch who sing with Callas in *Armida* in 1952. Not one of them is capable of even approximating the florid writing and Serafin makes loads of cuts and simplifications just to accomodate them. There are far more tenors around now who can sing Rossini.


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> Joyce DiDonato? She seems pretty good to me, though I admit to not keeping up with who's who in this fach.
> 
> It's my impression that we have more tenors competent in Rossinian coloratura than we had when every new Rossini recording featured Luigi Alva.


I liked Rockwell Blake and he sure was cute, but most of my favorite Rossini tenors are current. Joyce would be fabulous to hear live or on video, but not very memorable just as a recording.


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## Tsaraslondon (Nov 7, 2013)

Seattleoperafan said:


> I liked Rockwell Blake and he sure was cute, but most of my favorite Rossini tenors are current. Joyce would be fabulous to hear live or on video, but not very memorable just as a recording.


I don't find her voice particularly memorable either, but she certainly has the technique for Rossini.


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## Azol (Jan 25, 2015)

I have DiDonato on Blu-Ray in La Donna del Lago and in Maria Stuarda - both highly enjoyable performances! She's quite an actress too!


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## MAS (Apr 15, 2015)

Seattleoperafan said:


> I had no idea Podles was ever a cute thing!!!!


Everyone was once young and pretty.


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## Woodduck (Mar 17, 2014)

MAS said:


> Everyone was once young and pretty.


Thanks to avatars, we forum members can keep our looks forever. Someone's looks, anyway.


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## BalalaikaBoy (Sep 25, 2014)

Woodduck said:


> Joyce DiDonato? She seems pretty good to me, though I admit to not keeping up with who's who in this fach.


a decent voice with reasonable flexibility, but she never really felt like a mezzo to me. in an otherwise conscientious personality (she literally broke her leg and insisted on performing the same night) with a lot of charisma, there is something "lazy" about her voice. her acting is intense, but the voice itself sounds more like she's having fun singing a tune at a dinner party rather than pushing her voice to peak intensity and brilliance.



> It's my impression that we have more tenors competent in Rossinian coloratura than we had when every new Rossini recording featured Luigi Alva.


imo, modern Rossini tenors sound nasal at best and straight up hollow and sickly at worst. to my ears, JDF has slowly degenerated from "meh" to cringe-inducing the more I listen to earlier tenors.

in both these instances, modern Rossini singers suffer from a complete lack of CORE. all heady overtones, no open throat, chest voice or squillo**. sure, one might give this a pass in, say, Barbieri de Seviglia or L'Italiania in Algeri, but other operas like Armida, Semiramide, Mose in Egitto and Siege of Corinth are more serious operas written for powerful, intense voices. this might be why my favorite Rossini singers (Verrett, Pavarotti, Ramey, Caballe, etc), tend to be bigger voices known for more tragic or dramatic roles.

**I think there is a tendency to over-attribute squillo to certain voice types, when, to one extent or another, it should be present in any well-produced voice. obviously, they won't have as much as the kind of sopranos who sing Lady Macbeth or Norma, but there should be enough to suggest a strong, even voice that doesn't disappear in the middle.


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## Seattleoperafan (Mar 24, 2013)

BalalaikaBoy said:


> a decent voice with reasonable flexibility, but she never really felt like a mezzo to me. in an otherwise conscientious personality (she literally broke her leg and insisted on performing the same night) with a lot of charisma, there is something "lazy" about her voice. her acting is intense, but the voice itself sounds more like she's having fun singing a tune at a dinner party rather than pushing her voice to peak intensity and brilliance.
> 
> imo, modern Rossini tenors sound nasal at best and straight up hollow and sickly at worst. to my ears, JDF has slowly degenerated from "meh" to cringe-inducing the more I listen to earlier tenors.
> 
> ...


 but she never really felt like a mezzo to me... me either


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## Woodduck (Mar 17, 2014)

BalalaikaBoy said:


> [Joyce DiDonato has] a decent voice with reasonable flexibility, but she never really felt like a mezzo to me. in an otherwise conscientious personality (she literally broke her leg and insisted on performing the same night) with a lot of charisma, there is something "lazy" about her voice. her acting is intense, but the voice itself sounds more like she's having fun singing a tune at a dinner party rather than pushing her voice to peak intensity and brilliance.
> 
> imo, modern Rossini tenors sound nasal at best and straight up hollow and sickly at worst. to my ears, JDF has slowly degenerated from "meh" to cringe-inducing the more I listen to earlier tenors.
> 
> ...


Hmmmmm.

I offer this without comment (unless you consider "hmmmmmm" a comment).


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> Hmmmmm.
> 
> I offer this without comment (unless you consider "hmmmmmm" a comment).


That is one of the finest versions I have heard of that aria. I love her hair long.


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## Woodduck (Mar 17, 2014)

Seattleoperafan said:


> That is one of the finest versions I have heard of that aria. I love her hair long.


We can always rely on you for a fashion statement. What do you think? Should I shave my head, or am I old enough to not give a damn?


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> We can always rely on you for a fashion statement. What do you think? Should I shave my head, or am I old enough to not give a damn?


LOL. If that is you in your profile pic, I'd keep it. You look fetching.


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## Woodduck (Mar 17, 2014)

Seattleoperafan said:


> That is one of the finest versions I have heard of that aria. I love her hair long.


That's Tito Schipa. He looks and sings better than I do.


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## BalalaikaBoy (Sep 25, 2014)

Woodduck said:


> We can always rely on you for a fashion statement. What do you think? Should I shave my head, or am I old enough to not give a damn?


you didn't ask me, but I'm going to answer anyway: if you're going bald, definitely shave it. preferably with the addition of some well-groomed facial hair.


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## Woodduck (Mar 17, 2014)

BalalaikaBoy said:


> you didn't ask me, but I'm going to answer anyway: if you're going bald, definitely shave it. preferably with the addition of some well-groomed facial hair.


Thanks, but the fur has been thinning for almost half a century and at this rate I'll be dead before it's gone. The radical shave is not for everyone. It's a reasonable trick for young guys to get past the anxiety of losing their sex appeal. Either I'm unperturbed over losing what's left of mine, or else I have none to lose. I haven't had any feedback on that lately, and I'm not perturbed about that either. If they don't like me for my heart, soul, mind and Wagnerian expertise, to hell with them.


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## nina foresti (Mar 11, 2014)

Seattleoperafan said:


> That is one of the finest versions I have heard of that aria. I love her hair long.


"One of the?" For me it was far and away the finest version (and most fun version) I have ever heard bar none.
And Woodduck darlin', don't just go half-way. If you're gonna do it, do it all the way. It is much sexier -- at any age. :lol:


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