# TENOR TOURNAMENT (By Request): Piccaver vs Masini



## Bonetan (Dec 22, 2016)

Alfred Piccaver, UK/US, 1884-1958






Galliano Masini, Italy, 1896-1986






Who's singing did you prefer and why?


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## nina foresti (Mar 11, 2014)

Easy for me. Masini took the time to add meaning to the words and his feelings came through much more than Piccaver's. 
I certainly could choose many other tenors I happen to prefer but being that the competition is between these two, it was an was an easy choice.


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## Woodduck (Mar 17, 2014)

The virtues and faults of these singers are complementary, and that makes a decision problematic. I've always admired Piccaver's consistency and ease of vocal production, his firm legato and nice phrasing, and in these he surpasses Masini, who sounds effortful and occasionally awkward, especially in releasing the ends of phrases, where he grunts and occasionally loses support. I'll hazard a guess that this was recorded late in his career; I get the impression of good intentions he can no longer quite realize. For sheer singing, then, Piccaver wins it, but against this he is rather bland, and barely seems to be aware of the words; his Italian sounds both imprecise and indistinct, and its sounds and meanings inspire no disturbances in his seamless vocal line. Were it not for this I would find him a clear choice despite Masini's greater involvement with whatever the piece is about, but opera is drama and music must always be interesting. With regret, I'll have to pick an aging Masini.


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## Tsaraslondon (Nov 7, 2013)

Like those above, I'll plump for Masini's more effortful performance, solely because he is so mcuh more involved. However beautifully Piccaver sings, and he does sing beautifully, he's rather bland and uninteresting. I think Woodduck might be right and this is a late recording for Masini. Still, I prefer it as a performace to the uninvolved Piccaver.

Neither eclipses Vickers's (yes, Vickers) lovely performance of the aria in a 1961 recital under Serafin. Does anyone know it?






(Sorry if he had been planned for another comparison.)


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## Azol (Jan 25, 2015)

Masini for me as well. Much more distinct and characterful performance. I wouldn't say he is strained that much (the final note is not ideal though).
Not sure what's going on with Piccaver's recording technically, but sometimes it sounds as if two different singers were spliced in turns, as his tone varies quite a bit and it jars me from enjoying it.


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## The Conte (May 31, 2015)

Tsaraslondon said:


> Like those above, I'll plump for Masini's more effortful performance, solely because he is so mcuh more involved. However beautifully Piccaver sings, and he does sing beautifully, he's rather bland and uninteresting. I think Woodduck might be right and this is a late recording for Masini. Still, I prefer it as a performace to the uninvolved Piccaver.
> 
> Neither eclipses Vickers's (yes, Vickers) lovely performance of the aria in a 1961 recital under Serafin. Does anyone know it?
> 
> ...


The Vickers recording is quite new for me as I only recently bought that recital disc based on your recommendation. Pavarotti and Corelli are also both good in this aria, but neither have the style of Vickers.

As for Piccaver vs. Masini I too voted for Masini and whilst I agree that in some ways Piccaver sings it better, his nasal bleat very soon got on my nerves. Masini for all his faults sounds more natural and has purer vowels.

N.


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## Woodduck (Mar 17, 2014)

Tsaraslondon said:


> Like those above, I'll plump for Masini's more effortful performance, solely because he is so mcuh more involved. However beautifully Piccaver sings, and he does sing beautifully, he's rather bland and uninteresting. I think Woodduck might be right and this is a late recording for Masini. Still, I prefer it as a performace to the uninvolved Piccaver.
> 
> Neither eclipses Vickers's (yes, Vickers) lovely performance of the aria in a 1961 recital under Serafin. Does anyone know it?
> 
> ...


It's interesting to hear Vickers outside his usual dramatic tenor rep, but the recording sounds as if it were made in an empty warehouse or a concrete bunker. Did the engineers really think that music ever sounds like this at a live concert or opera?


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