# TENOR TOURNAMENT (Round 1, Match #4): Bergonzi vs Filippeschi



## Bonetan (Dec 22, 2016)

Carlo Bergonzi, Italy, 1924-2014






Mario Filippeschi, Italy, 1907-1979






Who's singing did you prefer and why?


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## nina foresti (Mar 11, 2014)

Well I thought Del Monaco was going to win the Pira prize hands down (it's hard to choose some of one's true favorite tenor voices from a Pira aria which to me is much more a macho aria and requires a less beautiful sound,) but after hearing Filippeschi's offering, he is right up front, even surpassing Corelli.
(Will we ever have a tenor competition with more of a slant on the tenor voice itself rather than the aria like "Che gelida manina" or "E lucevan le stelle" to show off some of the ones who got short shrift this time?)


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## Woodduck (Mar 17, 2014)

Hearing Bergonzi, I thought "This really sounds like music." Listening to Filippeschi, I thought "I don't ever want to hear this ridiculous aria again." The way the latter hung on to his high C till he was blue in the face (yes, I could see it) actually made me laugh out loud, and validated Verdi's choice not to write the note.

What it comes down to for me is musicality, and I refuse to make any concession, even in a piece like this, to tenorial hysterics. Bergonzi had a reputation for style and taste, and it shows even here. He starts off at a firm, natural tempo rather than a frantic dash, energizing the music with incisive verbal articulation, and this permits a rush of excitement once the chorus enters at a quicker pace. Filippeschi tries hard, but comes off as vocally insecure, musically square, and occasionally awkward. He simply lacked a first-class voice or technique. I know him best as the Pollione in the first EMI Callas _Norma_, and I find him unworthy of her company. I will add, though, that I'd gladly hear him rather than some of the tenors I've heard on Met broadcasts in recent years.


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## Allegro Con Brio (Jan 3, 2020)

I might as well start listening to these; comparing various performance styles is an unending fascination for me. Full disclaimer: I have not yet been able to get into Verdi’s operas, so I have no idea what this aria is about. I don’t know whether that’s an advantage or not? Anyway, for me the clear winner is Bergonzi. He has a huge, ringing, heroic voice with effortless amplitude and he clearly has authority on what he’s singing about. I thought Flippeschi sounded comparatively thin, grating, and strained.


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## Azol (Jan 25, 2015)

Bergonzi is the perfect intelligent Verdi tenor (well, maybe with exception of Otello and Radames) and it truly shows here. In a sense I get why this particular piece has been selected for the tournament, as it's so easy to overdo to the point of being comical.
I wouldn't say that Filippeschi flopped it hard, in fact his performance was quite enjoyable, but still no match for Bergonzi.


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## The Conte (May 31, 2015)

I normally don't like Bergonzi much as I find he sacrifices drama for stylistic gains and I expected he wouldn't be up to the challenge here. So imagine my surprise to find he could do 'swagger' as well. Bergonzi wins hands down.

N.


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## Revitalized Classics (Oct 31, 2018)

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## Tsaraslondon (Nov 7, 2013)

Bergonzi is an easy choice here. He makes music whilst Fillipeschi just bawls. He ruins Callas's first Norma and he is one of a pretty bad bunch of tenors on her Florence Armida. A tenor I actively avoid.

Incidentally, Bergonzi was much better than I expected. I wouldn't have thought this swaggering piece of bravado would have suited him at all, but he sings it really well.


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## The Conte (May 31, 2015)

Fillipeschi is also on the first Santini Don Carlo, which is another recording he ruins (and the subpar Stella doesn't help things).

Fortunately Gobbi and Christoff were recorded live with Vickers and Brouwenstijn under Giulini in a much better recording.

N.


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## adriesba (Dec 30, 2019)

To me, it felt like Filippeschi was singing this just for the high notes as if the rest bored him or he was just saving his breath. But Bergonzi actually made the rest of the notes exciting, not just the high ones, so I'll vote for him.


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## Azol (Jan 25, 2015)

The Conte said:


> Fillipeschi is also on the first Santini Don Carlo, which is another recording he ruins (and the subpar Stella doesn't help things).
> 
> Fortunately Gobbi and Christoff were recorded live with Vickers and Brouwenstijn under Giulini in a much better recording.
> 
> N.


I try to find merits in every Don Carlo in my collection, I cannot remember if Filippeschi was particularly bad in that one, maybe it's about time to give it a fresh listen


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