# BASS TOURNAMENT (Round 1, Match 2): Plancon vs Chaliapin



## Bonetan (Dec 22, 2016)

Pol Plancon, France, 1851-1941






Feodor Chaliapin, Russia, 1873-1938






Who's singing did you prefer and why?


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## Bonetan (Dec 22, 2016)

Let me once more profess my undying love for Pol Plancon, my personal choice for greatest bass on record. This is a recording I go to when I want to remember how my technique should feel. It's effortless, refined, elegant singing and I wish he had recorded every damn bass role ever for my enjoyment. The closest thing to a faultless singer that I know.

Respect to Chaliapin, a legendary vocal actor, but his stage chops can't help him here.


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## Seattleoperafan (Mar 24, 2013)

I have heard very high praise for Plancon, who I have never heard before, who had a gorgeous voice used well, but i expected a richer sound. Male voices are not my specialty. Chaliapin sounded more like a real bass. What a gorgeous, emotional voice, although he did not take the great low note that Plancon did. i had no idea what a hunk he was! I looked up photos and he could have been a Hollywood star. He gets my vote.


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## Tsaraslondon (Nov 7, 2013)

This is a tricky one. Two bass giants and two rather different performances. Both have very beautiful voices. Plançon sings with wonderful elegance, a model of bel canto style. However Chaliapin sings with a touch more feeling so I'm going to go with him, though it's very close.


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## nina foresti (Mar 11, 2014)

Being unfamiliar with the aria I was really more intrigued at how Bellini seems to start some of his arias with the same beginning and I am tricked into thinking I am hearing one aria when I end up hearing another.
As to what to be looking out for, again I am at a deficit and have to be my own judge.
I thought Pol Plancon's rendition was beautifully done, softly and almost like a prayer. Whether that is de rigueur for this aria or not I do not know but I found it very pleasantly presented.
Chaliapin on the other hand, seemed to emit more emotion to the words and, again, I have no idea if this is a plus or not but purely on a whim of listening to two voices in an aria I know nothing about, the one that pleased me the most was Pol Plancon's.


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## The Conte (May 31, 2015)

This isn't the right aria for Chaliapin to show off his skills, although his version comes across better due to the inclusion of orchestra and chorus. I like both, but I had to go for Pol.

N.


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## vivalagentenuova (Jun 11, 2019)

Both were great. Chaljapin either recorded better or had a richer voice (though Plancon is certainly no slouch), but Plancon has richer phrasing and style. I'm going to go with Plancon.


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## Woodduck (Mar 17, 2014)

What a feast of vocal greatness! Caruso called Plançon a human cello, which couldn't be more accurate. I knew what to expect of him: seamless perfection. But I didn't expect Chaliapin to be so elegant, since this isn't the sort of opera he's best known for. I like the touch of drama he injects, but do I like anything more than being transported on PP's magic carpet of sound?

What do do...What to do...


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## BachIsBest (Feb 17, 2018)

Seattleoperafan said:


> I have heard very high praise for Plancon, who I have never heard before, who had a gorgeous voice used well, but i expected a richer sound. Male voices are not my specialty. Chaliapin sounded more like a real bass. What a gorgeous, emotional voice, although he did not take the great low note that Plancon did. i had no idea what a hunk he was! I looked up photos and he could have been a Hollywood star. He gets my vote.


I think Plancon may have been a bit hurt by the 1903 recording technology; although we don't have a Plancon replica today (as much as I fervently wish we did), we do have pianos and it is easy to see how the recording swallows the fullness of the sound.

Personally, although I thought Chaliapin was quite good, Plancon was incredible. The lyricism in his singing, the fioritura in how he phrases the melody (I just learned the word fioritura and think, if it is applicable anywhere, it is surely applicable here), and just how effortlessly he maintains his legato throughout is, at least to me, simply remarkable.


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## Azol (Jan 25, 2015)

I went for Schaliapin (pronounced Shah-lya-pin) here just because of richness of the voice and emotional delivery (versus beauty-of-the-line _cello approach_ of Plancon). Both versoins are valid but, as with most Bellini arias, I do prefer emotion over serene beauty as not to be lulled to sleep too fast


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