# BASS TOURNAMENT (Quarterfinal 2): Pinza vs Mardones



## Bonetan (Dec 22, 2016)

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






Jose Mardones, Spain, 1868-1932 (defeated Navarini 12-5)






Who's singing did you prefer and why?


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## Seattleoperafan (Mar 24, 2013)

It is very hard to believe anyone is better at anything bass related than Pinza, with his glorious voice and musicianship, but I think Mardones voice is even deeper, richer and more beautiful. I used to listen over and over to Pinza from the Verdi Requiem with Cagniglia, which some consider the greatest Requiem.


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## Woodduck (Mar 17, 2014)

I can't find a thing to criticize about Pinza's vocalism or musicianship. I really can't imagine anyone singing this better. Truly splendid! Mardones has a fine instrument, but is less refined in his use of it. There are faults in intonation, minor irregularities in the vibrato, too many aspirates, and less fine control of the dynamic variation and timbral coloration that give Pinza's interpretation such a strong profile and sense of confident mastery.


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## Tsaraslondon (Nov 7, 2013)

As Woodduck says above, Mardones has a fine instrument, but his performance is rougher and he has occasional intonation problems. Pinza is just about perfection. I can't imagine it being better sung.


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## Azol (Jan 25, 2015)

I slightly prefer more deep rumbling voice of Madrones, but he is a bit unwieldy here and the articulation definitely suffers. Pinza is refined, a flawless performance while Madrones offers a pure operatic approach, using aspirates and dynamics for dramatic effect to the point of overdoing it. I give this to Pinza as a result.


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## nina foresti (Mar 11, 2014)

Well I loved him as Emile de Becque but Mardones, with his powerful and clear bass tones wins this one for me.


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## Seattleoperafan (Mar 24, 2013)

nina foresti said:


> Well I loved him as Emile de Becque but Mardones, with his powerful and clear bass tones wins this one for me.


I'm in good company then.


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## vivalagentenuova (Jun 11, 2019)

I agree that Pinza is a bit more refined overall, but I also like the power and darkness Mardones brings to this piece. His voice is starting to show the first signs of wear and decline, but it's still magnificently rich and powerful from top to bottom. Both are magnificent, but in this case I am siding with Mardones' more operatic interpretation. I buy that he really means it about sinners in Hell. In another mood I might choose Pinza, though.


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## The Conte (May 31, 2015)

Pinza had a superb voice, it's like a big, warm hug! However, there is something akin to 'singing by numbers' from him in this piece. I would want a bit more give in his interpretation. Mardones is more interesting, but the intonation problems bother me. I have to go with Pinza as it isn't just that his voice is more even, but Mardones has too many problems in his singing for me to vote for him.

N.


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