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Old or mixed

  • Stick with historic basses

    Votes: 2 28.6%
  • Diversify the basses

    Votes: 5 71.4%
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Past decade I heard Furlanetto live several times in Don Quichote, Don Carlo, Simon Boccanegra and Nabucco and liked him despite of being on the brink of retirement. All five Attilas were sung by Abdrazakov (does anyone else sing it now?) I also heard him as Felipe II, after Furlanetto he's the only option I'm agree with. There is Stanislav Trofimov, seen and heard with constant pleasure in The life for the Tzar, Verdi's Requiem, I Vespri, La Forza, Tzar's bride (unfortunately not in Don Carlo). Schrott and Pape stuck in memory as Procida and Gurnemanz respectively. Dmitri Belosselsky was good in small part in Giovanna D'Arco and, according to broadcast, as Boris. Pavel Kudinov has a vast repertoire, but I heard him as Polifemo in the Porpora's opera of the same name. Also in barocco I heard Alastair Miles in Alcina. Ildebrando D'Arcangelo and Luca Pisaroni were nice in Don Giovanni. Mikhail Petrenko mentioned above (to my surprise) is very uneven, in my opinion, sometimes he sings some Wagner parts and, unexpectedly, Khovansky well. But he can't sing Gremin at all. Eugeny Nikitin is a bass-bariton, good in Russian and German repertoire, but strange sounding in italian. Vladimir Matorin was famous Boris, I heard him in The Love to the three oranges.
It was all about live performances. In relatively modern broadcasts and recordings I can remember Gunter Groissbock, Vito Priante, Matti SalminenSalminen and, of course, Samuel Ramey.
 
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