# BASS TOURNAMENT (Round 1, Match 4): Mardones vs Navarini



## Bonetan (Dec 22, 2016)

Jose Mardones, Spain, 1868-1932






Francesco Navarini, Italy, 1855-1923






Who's singing did you prefer and why?


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## nina foresti (Mar 11, 2014)

Never heard of either one so I just have to go with my gut. And the one that seemed to have the most pathos and a fine vocal instrument was Jose Mardones.


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## Seattleoperafan (Mar 24, 2013)

Lord knows I would NOT be listening to this except for Bonetan. He is getting me into male voices. I actually listened to these 3 times. 3! Both of these artists, who were totally unknown to me, have voices of the quality of a top notch 19th century French pipe organ. I don't think we have had any basses of this quality in a while. Correct me if I am wrong. 
Mardones completely blew me away with the glorious beauty of his voice and singing( reminds me of Pinza). I had read that Navarini was near the end of his career when he sang this so I was not prepared for the reaction I had hearing him. Perhaps it was the intimacy of singing with a piano, but he possessed a voice that sounded like he was still at his prime and I can't put my finger on it, but using his amazingly beautiful voice he was able to make me feel like he was singing just for me. Nothing overly emotional.... but magic happened. His low notes were wondrous. I often do NOT like the common bass voice that has a slow ponderous vibrato, but Bonetan is picking out singers like Pinza that have beautiful flowing vibratos, which has made the contest a joy for me. I wish sopranos from 1907 sounded so well recorded. I think this was very close, but went with Navarini, who connected with my heart.


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## Tsaraslondon (Nov 7, 2013)

Two basses completely new to me and both rather wonderful. I find it hard to state a preference, but finally decided on Mardones. What impresses is that, with both of them, the singing seems effortless, where so many singers today, in all registers, sound effortful.


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## vivalagentenuova (Jun 11, 2019)

While Plancon is the greatest bel canto stylist among bases, to me Mardones is the greatest bass voice. His voice is huge but completely free of any signs of strain. The sound just pours out. So to me the fact that Navarini holds his own here says a lot. His voice is very well captured for the time of recording, and as Seattleoperafan said he sounds as though he is in his absolute prime at 52. Ultimately, I thought Mardones delivered the music slightly better. But it's really close.

Also, how cool is it that we can listen to someone born in 1855?


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## BachIsBest (Feb 17, 2018)

Seattleoperafan said:


> Lord knows I would NOT be listening to this except for Bonetan. He is getting me into male voices. I actually listened to these 3 times. 3! Both of these artists, who were totally unknown to me, have voices of the quality of a top notch 19th century French pipe organ. I don't think we have had any basses of this quality in a while. Correct me if I am wrong.
> Mardones completely blew me away with the glorious beauty of his voice and singing( reminds me of Pinza). I had read that Navarini was near the end of his career when he sang this so I was not prepared for the reaction I had hearing him. Perhaps it was the intimacy of singing with a piano, but he possessed a voice that sounded like he was still at his prime and I can't put my finger on it, but using his amazingly beautiful voice he was able to make me feel like he was singing just for me. Nothing overly emotional.... but magic happened. His low notes were wondrous. I often do NOT like the common bass voice that has a slow ponderous vibrato, but Bonetan is picking out singers like Pinza that have beautiful flowing vibratos, which has made the contest a joy for me. I wish sopranos from 1907 sounded so well recorded. I think this was very close, but went with Navarini, who connected with my heart.


This exactly! Navarini's voice is so wonderfully sensitive!


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## Woodduck (Mar 17, 2014)

Both singers are fine and I'm tempted not to vote, but the mellifluousness and easy amplitude of Mardones stays with me. His rhythm is a little uncertain at the start but after that all is well. Mardones it is.


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## Bonetan (Dec 22, 2016)

I'm having a really hard time making a choice here. Two great artists.

I've never heard a singer take the last 'pre' up the octave, nor finish the piece with 'prega' as Mardones does here. More low F# resonance on an 'ah' vowel perhaps? Interesting...I can't say I like the way the high note fits in the final phrase, but love me some Mardones!


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## Azol (Jan 25, 2015)

I slightly prefer Navarini. Mardones sounds a bit unstable to my ears. Both offer rich, strain-free voices with lots of lower register reserves!



Tsaraslondon said:


> What impresses is that, with both of them, the singing seems effortless, where so many singers today, in all registers, sound effortful.


They do get paid for their efforts, don't they? More efforts more pay


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## The Conte (May 31, 2015)

I think this two are somewhat different. Mardones sang with great beauty and evenness of tone, but I felt that Navarini had the more individual voice and approach, even if it wasn't as anyway near as stylish as Mardones. I think I prefer Navarini's voice, but this is who _sang_ it better, so I will have to vote for Mardones.

(Navarini I haven't even heard of, but Mardones was at least a name I know from all those old Met Casts with Ponselle.)

N.


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## Woodduck (Mar 17, 2014)

Azol said:


> They do get paid for their efforts, don't they? More efforts more pay


Good to know. Where do I audition?


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