# Mezzo Round One:Ah! quel giorno ognor rammento Arsace: Larmore and Simionato



## Seattleoperafan (Mar 24, 2013)

Since it is a US holiday I thought it was a good day for a new contest. Nilsson is the defacto winner of the last contest I believe.For some this will be a welcome change from heavy Elektra. I have some spectacular contestants but regret not being able to include Verrett in his role. I love Horne but she doesn't have many fans here. Three of four contestants are new to the contests. I went through a serious Jennifer Larmore phase a couple of decades ago. Regarding Simionato, someone wondered why so many dramatic mezzos were good at coloratura while few dramatic sopranos were. A mezzo replied, we don't have so many roles so we must be versatile. I spelled Simionato's name wrong in the poll. Forgive.


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## MAS (Apr 15, 2015)

Marilyn Horne has put her not inconsiderable stamp on this music so thoroughly that I find it hard not to think of her even when other singers are singing it. Not to mention that she had all the goods necessary to do the piece justice. 

Alas, Simionato does not. I like her voice and she has some flexibility, but she must execute the music properly when singing this kind of piece. 

Larmore sings the hell out of it, trills, roulades, runs, etc., fluidly delivered plus some appropriate variations.


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## nina foresti (Mar 11, 2014)

My all-time favorite mezzo is Simionato. But lifted out of her "Verdian paradise" and shoved into a Rossini-like atmosphere has not helped her one bit. I need her back home where she belongs.
Larmore gets the gold in this one. She gives it more verve.

(PS.) Who says Horne is not loved around here? Take my name off that list. I love her.)


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## Seattleoperafan (Mar 24, 2013)

nina foresti said:


> My all-time favorite mezzo is Simionato. But lifted out of her "Verdian paradise" and shoved into a Rossini-like atmosphere has not helped her one bit. I need her back home where she belongs.
> Larmore gets the gold in this one. She gives it more verve.
> 
> (PS.) Who says Horne is not loved around here? Take my name off that list. I love her.)


Nice to know both of you are fans of Horne, like me. Several people I respect on here have little good to say about Horne. Perhaps I should use her instead of Podles next round.


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## BalalaikaBoy (Sep 25, 2014)

In a rare instance of choosing a modern singer over a golden age one....Jennifer Larmore takes it for me. I've always loved her in this role.


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## BalalaikaBoy (Sep 25, 2014)

nina foresti said:


> My all-time favorite mezzo is Simionato. But lifted out of her "Verdian paradise" and shoved into a Rossini-like atmosphere has not helped her one bit. I need her back home where she belongs.
> Larmore gets the gold in this one. She gives it more verve.


This. She sings with excitement and gives *shape* to the coloratura.



> (PS.) Who says Horne is not loved around here? Take my name off that list. I love her.)


alas, I'm one of those (most of the time. her early soprano rep isn't half bad), but if it makes you feel better, I'm a minority


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## The Conte (May 31, 2015)

I'm another person who likes Horne.

I'm also a huge fan of both Simionato and Larmore and the above excerpts are from the two recordings of Semiramide that I have and it's an opera I enjoy immensely.

I really like both these versions and certainly wouldn't want to be without Simionato's. I think she has a great sense of Rossinian style, despite her version using mannerisms more in keeping with his comic operas. (Those who doubt her Rossini credentials just need to listen to her first Barber of Seville recording on Cetra.)

However, Larmore is something else. She gives Horne a run for her money here and that takes some doing. I'm voting for the girl from Atlanta.

N.


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## BalalaikaBoy (Sep 25, 2014)

honorable mention, Monica Sinclair also sings a superb version of this aria.


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## Seattleoperafan (Mar 24, 2013)

I WILL use Horne then. Glad I was mistaken. I have a wild card that could blow you away.


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## Woodduck (Mar 17, 2014)

Since I don't listen often to pre-Verdi Italian opera, I've actually heard little of Jennifer Larmore's work and had pretty well forgotten her existence. What she does here is really marvelous, as musically intelligent as it is virtuosic. Beside her performance, Simionato's might best be called a brave effort. That said, Simionato has a more distinctive voice that exudes more personality and sex appeal. Larmore's voice sounds impeccably tailored and coiffed, unsmiling despite the music's _joie de vivre._ I think I might soon get bored listening to her, but in this she gets my vote.


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> Since I don't listen often to pre-Verdi Italian opera, I've actually heard little of Jennifer Larmore's work and had pretty well forgotten her existence. What she does here is really marvelous, as musically intelligent as it is virtuosic. Beside her performance, Simionato's might best be called a brave effort. That said, Simionato has a more distinctive voice that exudes more personality and sex appeal. Larmore's voice sounds impeccably tailored and coiffed, unsmiling despite the music's _joie de vivre._ I think I might soon get bored listening to her, but in this she gets my vote.


Mr "Way With Words" strikes again;-) Listening to her again after 20 years I know why I loved her but also acknowledge your take on her singing. I have a shocking contestant next round;-)


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## Tsaraslondon (Nov 7, 2013)

Woodduck makes a good point when he says he might get bored listening to Larmore. I've often felt just that about her. There is no doubt she does everything right here and, for that reason alone, she should no doubt be a first choice. By comparison, Simionato is clumsy and some of the coloratura is almost embarassingly bad. However, when it comes to voice and personality, Simionato has it in spades and her performance leaps out of the speakers, where Larmore stays more comfortably at a distance.

I remember being told that Larmore's Cenerentola was one of the best and considered it when buying a recording of the opera. However, after listening to it, I found her just a bit anonymous and eventually went for Baltsa/Marriner. Baltsa might not quite sound like an _ingénue_ but she has much more vocal presence.

Anyway, in this instance, I will vote for Larmore, whilst duly noting that Simionato has the more impressive instrument.


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## Seattleoperafan (Mar 24, 2013)

Tsaraslondon said:


> Woodduck makes a good point when he says he might get bored listening to Larmore. I've often felt just that about her. There is no doubt she does everything right here and, for that reason alone, she should no doubt be a first choice. By comparison, Simionato is clumsy and some of the coloratura is almost embarassingly bad. However, when it comes to voice and personality, Simionato has it in spades and her performance leaps out of the speakers, where Larmore stays more comfortably at a distance.
> 
> I remember being told that Larmore's Cenerentola was one of the best and considered it when buying a recording of the opera. However, after listening to it, I found her just a bit anonymous and eventually went for Baltsa/Marriner. Baltsa might not quite sound like an _ingénue_ but she has much more vocal presence.
> 
> Anyway, in this instance, I will vote for Larmore, whilst duly noting that Simionato has the more impressive instrument.


Brilliantly put. Larmore has a gorgeous instrument and today in the video age would be great as she was beauty pagent beautiful, but in retrospect I see the innocuous part. Sort of like Dame Kiri.


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## The Conte (May 31, 2015)

Tsaraslondon said:


> Woodduck makes a good point when he says he might get bored listening to Larmore. I've often felt just that about her. There is no doubt she does everything right here and, for that reason alone, she should no doubt be a first choice. By comparison, Simionato is clumsy and some of the coloratura is almost embarassingly bad. However, when it comes to voice and personality, Simionato has it in spades and her performance leaps out of the speakers, where Larmore stays more comfortably at a distance.
> 
> I remember being told that Larmore's Cenerentola was one of the best and considered it when buying a recording of the opera. However, after listening to it, I found her just a bit anonymous and eventually went for Baltsa/Marriner. Baltsa might not quite sound like an _ingénue_ but she has much more vocal presence.
> 
> Anyway, in this instance, I will vote for Larmore, whilst duly noting that Simionato has the more impressive instrument.


That's a very odd recommendation. I agree with you about Larmore in that role (her Italiana in contrast is full of vim and vigour). In fact it's rather a dull Cenerentola overall. That said, I'm very much a fan and have most of her recordings.

The same goes for Simionato.

N.


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## The Conte (May 31, 2015)

Seattleoperafan said:


> Brilliantly put. Larmore has a gorgeous instrument and today in the video age would be great as she was beauty pagent beautiful, but in retrospect I see the innocuous part. Sort of like Dame Kiri.


Now I know how you feel when others here are less than enthusiastic about Sutherland or Horne. Larmore had (or has, isn't she still singing?) much more character than Te Kanawa and made a number of very good recordings. (She's possibly my favourite Romeo, although Baltsa was very good too.)

N.


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## MAS (Apr 15, 2015)

I love Larmore's *Giulio Cesare* and I'm still impressed by her handling of the fast-paced arias.


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