# Which Arsace?



## BalalaikaBoy (Sep 25, 2014)

Since *Seattleoperafan* made two threads about it, this is actually one of my all time favorite roles, so I thought I'd add another competition, this time between one of my favorite mezzos vs a mezzo from the Golden Age. Which do you prefer?

Monica Sinclair






Ebe Stignani


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## Seattleoperafan (Mar 24, 2013)

I'll include this with the final round. I am predisposed to vote for Stignani as I love her so and even did a Youtube talk on her BUT I was unacquainted with Sinclair and was very impressed with what she did with the aria as far as her embellishments were concerned. I didn't know Sutherland recorded the role twice. I have the lp version with General Horne when Horne was fairly new to mezzo roles.


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## Woodduck (Mar 17, 2014)

One of the worst things about retirement is that I can't decline to put myself through six performances of a Rossini aria with the excuse that I'm too busy.

I was curious enough to listen and find out how skilfully Stignani would handle the coloratura. She handles it well. I started the Sinclair and realized I just couldn't take any more of this so-called "opera seria." I agree with the advice Beethoven gave Rossini: "Write more Barbers."


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## Meyerbeer Smith (Mar 25, 2016)

Franco Fagioli - whether singing Rossini's Arsace or Leonardo Vinci's (in _Artaserse_).


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## MAS (Apr 15, 2015)

Sutherland was caught live in two recordings of *Semiramide*, once for La Scala with Simionato and once for RAI Rome, with Monica Sinclair, unusual for this opera in the 1960s. The studio one is, of course with Horne.

I was surprised that Stignani is as good as she is in the video, but I prefer Sinclair's more fluid version, with less aspirates.


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## Meyerbeer Smith (Mar 25, 2016)

Woodduck said:


> One of the worst things about retirement is that I can't decline to put myself through six performances of a Rossini aria with the excuse that I'm too busy.
> 
> I was curious enough to listen and find out how skilfully Stignani would handle the coloratura. She handles it well. I started the Sinclair and realized I just couldn't take any more of this so-called "opera seria." I agree with the advice Beethoven gave Rossini: "Write more Barbers."


I made the mistake last year of listening to a dozen Rossinis - including opera seria - in a month. By the end, I was surfeited, as if I'd gorged myself on icecream. There are some wonderful ensembles and arias in Rossini's opera seria, but a little goes a long way. I gave up on the Opera Rara _Semiramide_. But _Semiramide _is even more opera seria than the others; it's monumental and static in a way that (say) _La donna del lago _or _Maometto II_ aren't.


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## The Conte (May 31, 2015)

I like Monica Sinclair in the few things I've heard her in (character roles with Sutherland - and she is Smeton in Callas' 1958 recording of the Anna Bolena mad scene). However, I think her version of this aria is overblown.

Stignani is a bit too plain Jane in the aria though. I think I prefer her version overall.

N.


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## Azol (Jan 25, 2015)

I give my vote to Stignani - her singing is much more precise and focused. Sinclair surely does some marvellous things but I don't think I enjoy the way she goes all over the place negotiating even the simplest melody lines at the beginning of the cavatina (which starts at about 4:20 in the first video for those most impatient with Arsace to make his (her?) points in recitative).


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