# BASS TOURNAMENT (Semifinal 1): Plancon vs Pinza



## Bonetan (Dec 22, 2016)

Pol Plancon, France, 1851-1914 (defeated Chaliapin 12-6, Siepi 15-4)






Ezio Pinza, Italy, 1892-1957 (defeated Abdrazakov 17-1, Mardones 10-8)






Drum Major's Aria from Ambroise Thomas' _Le Caid_.

Who's singing did you prefer and why?


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## Woodduck (Mar 17, 2014)

Having never heard this aria before, I have no basis for comparing any performances save these two with each other. I think it would have been fairer to Pinza to listen to him first, but since I didn't do that I have little choice but to do what I'm getting used to doing whenever Plançon shows up. The man was a miracle, a _basso lirico coloratura,_ impeccable in voice, musicianship and artistic imagination, exhibiting every quality that singers strive for (or should). What he achieves with this bit of musical high jinks tempts me to call him the greatest singer on record. It's worth hearing this just for that perfect trill, which made me do the equivalent of a double take.

Enough said. Good try, Ezio. Anyplace else you're tops.


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## Bonetan (Dec 22, 2016)

I agree with Woodduck 100%. I've said it before and I'll say it again, Plancon is the closest thing to a flawless singer that I've encountered. Whether he's one's favorite or not, one has to marvel at his artistry and technical mastery.


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## BachIsBest (Feb 17, 2018)

I agree with the previous poster's (Woodduck's) assessment but would like to add that, especially compared to the strained sound so many singers today have, the unbelievable ease with which Plancon sings is startling. Pinza wasn't strained by any stretch of the imagination, but superlatives fail to describe how naturally Plancon climbs his vocal mountains. Listening to him sing is almost like watching swallows dancing over a lake at dawn; the evident effortlessness with which they accomplish their acrobatics is, in itself, joyful (although I'm sure the swallows themselves care more about juicy mosquitos, but I digress).


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## Tsaraslondon (Nov 7, 2013)

What can I add? Plançon has it all. In any other company, I'm sure Pinza would take the award, but he is up against genius here. I'm voting for Plançon for all the reasons mentioned by others.


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## Dimace (Oct 19, 2018)

Despite I agree with all the post which write about Plancon (generally) superiority,* I went to Enzio,* because (very simply) I like more his voice. This isn't a very good opera from Ambroise, but it has some glorious singing here and there. One of those has happened in this video with Ezio. (with a better recording for the Legend Plancon, maybe I had went for him) Thanks Bonetan!


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## Azol (Jan 25, 2015)

The two performances differ greatly, Plancon is in "_chanson_ mode", light, dancing-like with beautifully executed ornamentations. Pinza is imposing, deep and indeed sounds like a drum major to me (do not know this opera at all). While I definitely appreciate the incredibly natural and relaxed music-making (wanted to write "merrymaking") of Plancon, Pinza is more characterful. I'm sure Pol wouldn't mind my single vote going to Ezio. In fact, I think he'd laugh about it.


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## The Conte (May 31, 2015)

Two of my favourites and the only reason I know this aria. Plancon's voice and technical excellence are pure luxury.

Pinza's larger voice (some of that is no doubt due to the recording techniques of Plancon's day not capturing the full voice, but those who heard Pinza said it was huge and that it sounded as though he had swallowed a microphone). I prefer Pinza's sound as we hear these two voices today through the veil of earlier primitive audio capture methods. However, whilst both give highly characterful performances, Plancon's playful style seems more French to me. I can understand why some may prefer Pinza's more extrovert interpretation though. Plancon like Battistini had it all in equal measure. Plancon wins.

N.


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## nina foresti (Mar 11, 2014)

This one is easy for me. Plancon sounds.
Pinza's wonderful bass sound in comparison has given this aria (unfamiliar to me) much verve and spirit which I am assuming it is supposed to be the end result.


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## vivalagentenuova (Jun 11, 2019)

I had only ever heard Plancon's rendition of this aria, so when I first heard Pinza's, there mere fact of it not being Plancon's made me dismiss it easily. I assumed Pinza would get blown out. Listening again, I think Pinza actually does a really good job, and I can see why people would prefer him. He definitely comes across as having a richer sound and a more martial spirit. I still think though that Plancon is better here. His runs are much smoother better defined than Pinza's. Pinza sounds lumbering in those sections, while Plancon soars. Plancon also has an excellent trill (not sure if it's written or not). And finally, although I can see how one would find Plancon even _too_ stylish for this piece, I don't mind a bit unrealism in the service of great singing and great musicianship, which Plancon provides in spades. As for realism, how many drum majors could actually sing this piece anyway? I'm voting Plancon, though it's a little bit closer than I initially anticipated.


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## Allegro Con Brio (Jan 3, 2020)

I much prefer Pinza’s deeper, more resonant tone and the authoritative weight with which he sings. Plancon sounds “playful” in comparison; not sure how to describe my impressions beyond that. I may be biased, though, because I much prefer lower male voices rather than the tenorial sound, and Plancon sounds more like a tenor to me besides the low notes.


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## PaulFranz (May 7, 2019)

Nivette beats Pinza out too, for many of the same reasons as Plançon.


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