# MEZZO/CONTRALTO TOURNAMENT (Bonus Matchup): Garanca vs Barton



## Bonetan (Dec 22, 2016)

Elina Garanca, Latvia, 1976-






Jamie Barton, USA, 1981-






'Mon coeur s'oevre a ta voix' from Saint Saen's _Samson et Dalila_.

Who's singing did you prefer and why?


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## Seattleoperafan (Mar 24, 2013)

What a pairing!!!!! Garanca did a really wonderful job and if it was a choice of her or Jaime on a DVD of the opera, she would be one to buy. BUT, she was up against Jaime. I think Jaime may have the greatest operatic voice of this generation. The size, range,beauty and richness of her sound plus the sensitivity with which she sings the material is just not heard in other singers today. She used chest, which Garanca avoided and the overtones she gets in the middle of her voice plus her soprano extension at the top put her in a whole different class from the lovely Garanca. I have heard Jaime live and the volume and gorgeous, full sound of her voice makes you think you are hearing someone from the Golden Age of Opera. No one else of note sings the witch's aria from Hansel and Gretel but do yourself a favor and watch Jaime make the aria uniquely her own:



. It is her big encore piece in her recitals and it brought the house down when I heard it.


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## Parsifal98 (Apr 29, 2020)

I find Garanca to be the least problematic of the two. However, they both remain, in my opinion, great examples of the state of modern operatic singing (see the thread). Garanca sings in this kind of weak, sunken, falsettoish head voice that has become far too common in opera. The voice lacks core and I find it to be rather bland and boring.

I don't know what is going on with Barton's tongue and mouth, but the gospel jaw is never a good sign when singing. There is way to much tension in that throat and one can see and hear it pretty easily. She is often nasal à la Horne and the voice sounds thick and unclear, as it it was stuck somewhere. The high note at the end is the icing on the cake... All in all a performance that I find pretty poor. It is the first time I hear her sing, and it will certainly be the last.


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## nina foresti (Mar 11, 2014)

No contest!
Jamie ran away with the crown. Her version was absolutely stunning and gorgeous. Just about one of the best I've ever heard.


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## Bonetan (Dec 22, 2016)

Parsifal98 said:


> I find Garanca to be the least problematic of the two. However, they both remain, in my opinion, great examples of the state of modern operatic singing (see the thread). Garanca sings in this kind of weak, sunken, falsettoish head voice that has become far too common in opera. The voice lacks core and I find it to be rather bland and boring.
> 
> I don't know what is going on with Barton's tongue and mouth, but the gospel jaw is never a good sign when singing. There is way to much tension in that throat and one can see and hear it pretty easily. She is often nasal à la Horne and the voice sounds thick and unclear, as it it was stuck somewhere. The high note at the end is the icing on the cake... All in all a performance that I find pretty poor. It is the first time I hear her sing, and it will certainly be the last.


I'm sure they are both fine artists and among the best on operatic stages today, but neither of these ladies sing in the free and easy manner I would like. Both sing in a way that doesn't sound natural to my ears, but I could be way off base...


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## Seattleoperafan (Mar 24, 2013)

Bonetan said:


> I'm sure they are both fine artists and among the best on operatic stages today, but neither of these ladies sing in the free and easy manner I would like. Both sing in a way that doesn't sound natural to my ears, but I could be way off base...


You know a lot more of the technique of singing than me!!!!!!!!!!!!!


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## Bonetan (Dec 22, 2016)

Seattleoperafan said:


> You know a lot more of the technique of singing than me!!!!!!!!!!!!!


I'm a 'keep it simple stupid' kind of guy when it comes to technique so I can't diagnose things others here can diagnose, but I crave that easy-as-speaking vocal production and these ladies don't have it. Listen to our fave 'O Mio Fernando' from Stignani and see if you notice how much more effortful Barton's singing sounds.

Btw I also heard Barton live (as Eboli) and she was the best singer on stage that day imo, in a cast that included Quinn Kelsey and Eric Owens. Only the Grand Inquisitor had a larger voice from where I was sitting.


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## Woodduck (Mar 17, 2014)

Elina Garanca is, vocally, not unpleasant. Visually, she is somewhat better than not unpleasant. I gather that onstage she can be very pleasant. That would seem to add up to something, but here it amounts to less than the sum of its parts. Her voice reminds me of 1% milk - serviceable if you need something tastier than water to put in your oatmeal, but not quite the real thing, and insipid for drinking. I find her completely forgettable and not competitive with Jaimie Barton, who has a more colorful and fully developed instrument and manages to do something with the music, although the choice of the high note at the end is unfortunate. That said, I find that Parsifal98's and Bonetan's descriptions of both ladies' vocal deficiencies ring true. 

These are two of our big stars, folks. I'll say no more.


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## Seattleoperafan (Mar 24, 2013)

Bonetan said:


> I'm a 'keep it simple stupid' kind of guy when it comes to technique so I can't diagnose things others here can diagnose, but I crave that easy-as-speaking vocal production and these ladies don't have it. Listen to our fave 'O Mio Fernando' from Stignani and see if you notice how much more effortful Barton's singing sounds.
> 
> Btw I also heard Barton live (as Eboli) and she was the best singer on stage that day imo, in a cast that included Quinn Kelsey and Eric Owens. Only the Grand Inquisitor had a larger voice from where I was sitting.


I like what you said a lot. It is really hard to compare any other mezzo from any other period to Stignani!!!!!!! She was not called the Italian Flagstad for nothing! Barton is not on that level, but she is by far my favorite of today's singers.


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## Tsaraslondon (Nov 7, 2013)

The most I can say for Garanca is that she's easy on the eye and has quite a pretty but unmemorable voice. She doesn't do anything wrong, but I note (sorry, this is a bugbear of mine) that, like Barton, she breaks the phrase _Ah, réponds à ma tendresse_ into two, where Saint-Saëns indicates it should be sung in one. Yes, it's a very long phrase, but it can be done. Listen to Callas.

Barton makes more of an impression, but I can't say I like her version that much either. Like many mezzos or contraltos, she sounds more public school matron than sexy siren. I like my Dalilas to sound sexy and dangerous and she doesn't sound either to me. I'm voting for Barton because at least she did something with the music, but I'm not really invested in either of them.


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## Azol (Jan 25, 2015)

Sorry, guys and gals, neither works for me. Above posts by Woodduck and Parsifal98 sum it up perfectly. And the orchestra in the second video sounds sometimes off-balance and uninspired which surely does not help.
I won't be casting my vote here as well.

Off to watch Grace Bumbry's take on this aria - even past her prime she would give both a good run for their money.

P.S. I must add that Garanca and Barton are in a very good company: Caballe has recorded this aria in the studio which sounds so _wrong_ it's hilarious. Not sure I'm ready to re-live this experience


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## Parley (May 29, 2021)

Garanca is a stage animal and needs to be seen in context. I saw this one from the Met and her performance was riveting.


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## Tsaraslondon (Nov 7, 2013)

Parley said:


> Garanca is a stage animal and needs to be seen in context. I saw this one from the Met and her performance was riveting.


Admittedly it's more convincing in context, but I still prefer this, including the way it's been directed.


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## Parley (May 29, 2021)

Tsaraslondon said:


> Admittedly it's more convincing in context, but I still prefer this, including the way it's been directed.


Of course, we have two great stage presences in Vickers and Verrett. Just that you need the thing in context to assess a performance unless you believe that opera is just about singing. That might be true in some cases but not in others. Stage presence is necessary. The comment by the late George Solti comes to mind: "People often talk about the Callas legend, but for me she did not have as great a voice as her rival Renata Tebaldi. Callas, however, had a magic about her; when she was on the stage you could not take your eyes away from her." And no, I'm not comparing anyone with Callas, but pointing out a principle.


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## nina foresti (Mar 11, 2014)

Tsaraslondon said:


> Admittedly it's more convincing in context, but I still prefer this, including the way it's been directed.


NOW you're talking!! Verrett is outstanding. Simply a winner.


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## Seattleoperafan (Mar 24, 2013)

nina foresti said:


> NOW you're talking!! Verrett is outstanding. Simply a winner.


She would have been my ultimate Delilah.


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## BalalaikaBoy (Sep 25, 2014)

Parsifal98 said:


> I find Garanca to be the least problematic of the two. However, they both remain, in my opinion, great examples of the state of modern operatic singing (see the thread). Garanca sings in this kind of weak, sunken, falsettoish head voice that has become far too common in opera. The voice lacks core and I find it to be rather bland and boring.
> 
> I don't know what is going on with Barton's tongue and mouth, but the gospel jaw is never a good sign when singing. There is way to much tension in that throat and one can see and hear it pretty easily. She is often nasal à la Horne and the voice sounds thick and unclear, as it it was stuck somewhere. The high note at the end is the icing on the cake... All in all a performance that I find pretty poor. It is the first time I hear her sing, and it will certainly be the last.


it looks like I have a new ally on this forum.


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## BalalaikaBoy (Sep 25, 2014)

Parley said:


> Of course, we have two great stage presences in Vickers and Verrett. Just that you need the thing in context to assess a performance unless you believe that opera is just about singing. That might be true in some cases but not in others. Stage presence is necessary. The comment by the late George Solti comes to mind: "People often talk about the Callas legend, but for me she did not have as great a voice as her rival Renata Tebaldi. Callas, however, had a magic about her; when she was on the stage you could not take your eyes away from her." And no, I'm not comparing anyone with Callas, but pointing out a principle.


did I just agree with you? I think I just agreed with you


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## Woodduck (Mar 17, 2014)

Parley said:


> Garanca is a stage animal and needs to be seen in context. I saw this one from the Met and her performance was riveting.


From all reports, Garanca is quite a fine performer onstage. My first hearing of her was as Carmen in a Met broadcast a few seasons ago, and though she had a pleasant voice and didn't do anything really inappropriate or repellant, I couldn't understand the rave reviews she was getting. There are many possible ways of singing Carmen consistent with Bizet's presentation of her, and Garanca simply didn't bring me any definite character through her singing. I don't attend operas these days, but I have the feeling that there are many good singers like Garanca who are assets to live productions but make too little impression vocally and musically to be worth hearing on recordings.


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## Parley (May 29, 2021)

Woodduck said:


> From all reports, Garanca is quite a fine performer onstage. My first hearing of her was as Carmen in a Met broadcast a few seasons ago, and though she had a pleasant voice and didn't do anything really inappropriate or repellant, I couldn't understand the rave reviews she was getting. There are many possible ways of singing Carmen consistent with Bizet's presentation of her, and Garanca simply didn't bring me any definite character through her singing. I don't attend operas these days, but I have the feeling that there are many good singers like Garanca who are assets to live productions but make too little impression vocally and musically to be worth hearing on recordings.


I think this is maybe where we differ in that I believe opera is a dramatic experience to be seen as well as heard. Garanca on stage is a simply captivating stage presence. Nothing wrong with her singing either.


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## Seattleoperafan (Mar 24, 2013)

Parley said:


> I think this is maybe where we differ in that I believe opera is a dramatic experience to be seen as well as heard. Garanca on stage is a simply captivating stage presence. Nothing wrong with her singing either.


I wouldn't buy an album of Garanca's, but she would be the whole package as Delilah on stage: acting, beauty, and a fine but not spectacular voice that would glue you to the stage, plus this is a part that is really helped by having a real siren in the part.


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## BalalaikaBoy (Sep 25, 2014)

Parley said:


> I think this is maybe where we differ in that I believe opera is a dramatic experience to be seen as well as heard. Garanca on stage is a simply captivating stage presence. Nothing wrong with her singing either.


as far as Carmen is concerned, I agree (some operas it's just more important to see. others I just care about the singing). Garanca is certainly not lacking in presence, but where we disagree is that, imo, that presence is a little too "safe" for Carmen. Carmen is kind of a b__ch, and, imo, requires someone who can push the envelope a bit more.

is it a "bad" performance? certainly not, but there's just a bit too much of that Nordic "polite and normal" energy. I'm looking for something more like this


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## Parley (May 29, 2021)

BalalaikaBoy said:


> as far as Carmen is concerned, I agree (some operas it's just more important to see. others I just care about the singing). Garanca is certainly not lacking in presence, but where we disagree is that, imo, that presence is a little too "safe" for Carmen. Carmen is kind of a b__ch, and, imo, requires someone who can push the envelope a bit more.
> 
> is it a "bad" performance? certainly not, but there's just a bit too much of that Nordic "polite and normal" energy. I'm looking for something more like this


Funny but I find Ewing quite unalluring. Too blatant first off. And I never did go for her voice. Garanca builds the whole thing throughout the performance. Far more subtle.


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## Shaughnessy (Dec 31, 2020)

*The Garanca Paradox*

https://observer.com/2010/11/the-garanca-paradox/

"To learn that the mezzo-soprano Elina Garanca sang the role of Anita (Massenet's La Navarraise) in a concert performance at Carnegie Hall on Oct. 25 is to know immediately that there was no trembling, no fervor, no agitation. There was no wildness. There was not, it goes without saying, a hint of crazed laughter.

It also goes without saying that Ms. Garanca sang lusciously; she always does. In the warm Carnegie acoustic, her voice was rich and smooth, shining and perfectly consistent through its range.

The Garanca paradox-golden voice; utter blandness-is familiar to anyone who's heard her, and lots of people have. Slender and beautiful, the 34-year-old singer has quickly become one of the biggest stars of opera's high-definition era; just since January, the Metropolitan Opera has released two of her performances on DVD. There have been other lush-voiced singers accused of lacking dramatic urgency, Kiri te Kanawa and Renée Fleming among them. But I can't think of another who matches Ms. Garanca's mystifyingly huge gap between technical ability and temperament.

Lots of opera singers are bad actors. But even the bad ones know that they should be good, and they try-sometimes really, really hard. Indeed, our sense that their performances are lacking often comes from our perception of their effort.

Ms. Garanca, though, never seems to be straining; she's uncannily placid.

(... in her role as "Carmen") It can often seem not that she's a bad actress but that she's not quite sure what acting is. From time to time, she sings really loudly for emphasis, and she will occasionally lurch suddenly to indicate decisive emotion. But she mostly seems detached. Several scenes end with her standing at the edge of the stage, staring wanly into the middle distance. In the final scene, when her desperate ex-lover threatens her and finally stabs her to death, her prevailing emotion seems to be mild annoyance.

The small gestures she has chosen to telegraph "character" are arbitrary to the point of absurdity.

I thought of Elina Garanca the other day as I read a remembrance of the great singer Shirley Verrett, who died Friday. "She was never a singer one looked to for soothing, comfort or distraction," the piece, on the website Parterre.com, went. "She was there to distress, to disturb, to shock.""


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## BalalaikaBoy (Sep 25, 2014)

Parley said:


> Funny but I find Ewing quite unalluring. Too blatant first off. And I never did go for her voice. Garanca builds the whole thing throughout the performance. Far more subtle.


on one hand, I can respect that. on the other hand...Carmen is supposed to be the opposite of subtle. she's a wild seductress with a bold, adventurous spirit.


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## Parley (May 29, 2021)

Sunburst Finish said:


> *The Garanca Paradox*
> 
> https://observer.com/2010/11/the-garanca-paradox/
> 
> ...


Just shows that some critics have no idea what acting is! As it comes from the Observer I'm not surprised! People like this try to look smart by trying to pull down those who have popularity with the public. A bit sad really.


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## Parley (May 29, 2021)

BalalaikaBoy said:


> on one hand, I can respect that. on the other hand...Carmen is supposed to be the opposite of subtle. she's a wild seductress with a bold, adventurous spirit.


Ever met a seductress?


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## BalalaikaBoy (Sep 25, 2014)

Parley said:


> Ever met a seductress?


several, they come in a range of styles. many are more subtle as you stated, but others are more direct, because they realize that, for many men, a more direct woman take a load off of their shoulders, along with a lot of the guess work and the apprehension around a possible rejection.


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## Parley (May 29, 2021)

BalalaikaBoy said:


> several, they come in a range of styles. many are more subtle as you stated, but others are more direct, because they realize that, for many men, a more direct woman take a load off of their shoulders, along with a lot of the guess work and the apprehension around a possible rejection.


Carmen is confident. She doesn't need to throw herself around. In the Haberna she picks on the one man who is not looking at her - Don Jose. To my mind Garanca brings it off better than anyone. Of course, it is purely subjective.


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## Woodduck (Mar 17, 2014)

Parley said:


> I think this is maybe where we differ in that I believe opera is a dramatic experience to be seen as well as heard. Garanca on stage is a simply captivating stage presence. Nothing wrong with her singing either.


We don't differ about opera being a theatrical experience. Do you think anyone disagrees with that? What we have here, though, is a singing competition. "Who sings it better?" is the question at hand. That includes vocal timbre, technique, musicianship and interpretative imagination. It doesn't include stage presence or acting skill.

No point arguing about different things.


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## BalalaikaBoy (Sep 25, 2014)

Parley said:


> Carmen is confident. She doesn't need to throw herself around.


not so much "throw herself at him" as much as "HUNT him!"



> *In the Haberna she picks on the one man who is not looking at her - Don Jose*. To my mind Garanca brings it off better than anyone. Of course, it is purely subjective.


right, exactly like this. if you think EG does that better, you're free to do so, but personally, I just don't hear enough, at the risk of sounding crass....horniness. I get more *lust* from Ewing similar to Callas and, to a lesser extent, Grace Bumbry and Cristel Lindstat (you see? I'm capable of talking about something other than proper singing technique  )


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## Parsifal98 (Apr 29, 2020)

BalalaikaBoy said:


> it looks like I have a new ally on this forum.


We do share similar views on singing, but I do not share your enthusiam for the Fach system.


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## BalalaikaBoy (Sep 25, 2014)

Parsifal98 said:


> We do share similar views on singing, but I do not share your enthusiam for the Fach system.


I have a lot less than people think. I had a lot more several years ago.


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## BalalaikaBoy (Sep 25, 2014)

like, someone the other day said, "oh no, I'm a contralto, I just have a really light tone because I'm a lyric coloratura" :lol:


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## Parley (May 29, 2021)

BalalaikaBoy said:


> not so much "throw herself at him" as much as "HUNT him!"
> 
> right, exactly like this. if you think EG does that better, you're free to do so, but personally, I just don't hear enough, at the risk of sounding crass....horniness. I get more *lust* from Ewing similar to Callas and, to a lesser extent, Grace Bumbry and Cristel Lindstat (you see? I'm capable of talking about something other than proper singing technique  )


Garanca does, to me, do that better than Ewing imo. It's not a matter of sheer brazen lust either. It's reeling in the fish! Same with Delilah, which we are discussing here. But we all have our opinions. I've never found Ewing a very attractive artist.


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## BalalaikaBoy (Sep 25, 2014)

Parley said:


> Garanca does, to me, do that better than Ewing imo. It's not a matter of sheer brazen lust either. It's reeling in the fish! Same with Delilah, which we are discussing here. But we all have our opinions. I've never found Ewing a very attractive artist.


ah, I forgot the original contest was over Daliliah haha

yes, her approach is more appropriate here. Jaime Barton is about as seductive as a cafeteria lady


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## Esclarmonde (May 10, 2021)

I am not familiar with either artist - I am yet to emerge from the 1970s - and perhaps never will!

Neither singer floated my boat.

And that choice of high note from Barton made me squirm - although I enjoyed repeating it a few times - somewhat deliciously :lol:


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