# MEZZO/CONTRALTO TOURNAMENT (Round 1, Match 8): Cossotto vs Zajick



## Bonetan (Dec 22, 2016)

Fiorenza Cossotto, Italy, 1935-






Dolora Zajick, USA, 1952-






'Judgement Scene' from Verdi's _Aida_.

Who's singing did you prefer and why?


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## nina foresti (Mar 11, 2014)

I love them both but Cossotto gets my nod today.
Dolora can get my vote for her Azucena every other day.


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## Seattleoperafan (Mar 24, 2013)

It was wonderful to have Zajick around when few others had such a supposedly gigantic sound. I think Nilsson felt Zagick was the only diva who succeeded her who had such a big voice, although Dimitrova likely did as well, but sang Nilsson's own roles;-) I didn't know Dolora looked so nice onstage when she was young. She had drama in her singing, but Cossoto did as well but had to my ear a more beautiful sound. I would have LOVED to have heard Zagick in her prime, but if I were to listen repeatedly to a recording I would go with Cossoto.


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## Dimace (Oct 19, 2018)

*Dolora,* without much thinking! The Lady acting is more theatrical, her movements on the stage, some times, reminds me a little bit of ballet dancer, her voice has power and the internal tempo, which is necessary for this aria. The orchestra is MUCH better than the one of the first video. No comparison, clear win for the American star.


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## Bonetan (Dec 22, 2016)

Dolora is dear to me, so she gets my heavily biased vote


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## BalalaikaBoy (Sep 25, 2014)

Cossotto by a wide margin. Dolora Zajick is a fine singer, but Cossotto outclasses her on several levels.


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## Esclarmonde (May 10, 2021)

I love them both - however, Cossotto is superior. 
She was one of the most powerful dramatic mezzo-soprano voices of the 20th century – with an amazing range!


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## Tsaraslondon (Nov 7, 2013)

I fully expected Cossotto to walk away with this, but I hadn't reckoned on Zajick, whom I didn't really know that well. She gives a really exciting performance and, to be honest, I found it really hard to separate them. Ultimately I'll go for Cossotto because I just prefer the sound of her voice, but it's very close.


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## The Conte (May 31, 2015)

This is an interesting, I really like both as Amneris, despite neither being my favourite in the role. Cossotto pips Zajick to the post here though with her more centered tone and being a touch more dramatic overall.

N.


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## nina foresti (Mar 11, 2014)

Also, if you really watch both in action closely, you will likely agree that Cossotto is giving a more sincere portrayal of angst whereas Zajick is chewing the scenery.


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## Azol (Jan 25, 2015)

The Met crowd going mad after this scene is definitely a testament to the authority and the power of Dolora's voice. I keep this DVD in my collection and I can tell you, her voice can be clearly heard at the very end of the Triumphal scene, which is no small feat. (My little daughter used to "help" Amneris sing at that moment )
Other than that, I give slight preference to Cossotto's chest voice, but still I regret that only one vote could be cast in this poll.


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## MAS (Apr 15, 2015)

As I “grew up” with Cossotto, she is the voice I hear when I think of Amneris and Azucena. 

Dolora Zajic is a singer who trained with the San Francisco Opera’s Merola Program, and is pretty much a favorite with the public here, so it’s a tough choice. 

I find Cossotto’s voice is of a higher quality than the one with which Zajic presents us, and I hear a touch more authority in Cossotto’s performance in addition to the more focused sound. That said, I find it slightly disconcerting to see her watching the conductor - opera was not made for closeups.


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## Seattleoperafan (Mar 24, 2013)

MAS said:


> As I "grew up" with Cossotto, she is the voice I hear when I think of Amneris and Azucena.
> 
> Dolora Zajic is a singer who trained with the San Francisco Opera's Merola Program, and is pretty much a favorite with the public here, so it's a tough choice.
> 
> I find Cossotto's voice is of a higher quality than the one with which Zajic presents us, and I hear a touch more authority in Cossotto's performance in addition to the more focused sound. That said, I find it slightly disconcerting to see her watching the conductor - opera was not made for closeups.


I agree! I think you should always see at least the full body of a singer. Never a close up when they sing. This was particularly evident with Jessye Norman, who they always insisted on filming in a tight frame. Not flattering.


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## Woodduck (Mar 17, 2014)

Zajic was in her prime during years when I wasn't paying much attention to contemporary singers or keeping up with Met broadcasts, and for that reason she isn't all that familiar to me. If this is indicative she was certainly an asset to the house, but Cossotto's voice bests hers in its compact focus and brilliance.


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## khalan (Jun 4, 2021)

Really need to draw such a comparison???? I heard also Zajick live (Amneris in Aida, Remember her also Azucena of course) and there is nowhere she is even close to Cossotto


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