My God! ... I was brought up on Italian Opera and the artists of the early 20th Century - but hadn't ever heard of Boninsegna until this evening! .... Her vocal mastery and artistry in this rendition is truly magnificent!
Una voce dal timbro privilegiato, una linea di canto esemplare ed una interpretazione accorata. La scuola è di primordine e il legato, i passaggi, il medium ed il trillo sono affascinante oltre che perfetti... averne oggi, altro che le "sciantose" travestite da soprano ...
Magnificent! A true Verdi soprano! Singers like Boninsegna and Ponselle make today's sopranos sound ridiculous with their fake voices that need amplified sound systems to even be heard in modern opera houses. These were the best of times to never be heard again.
Personne ne pourrait égaler ce chant puissant, riche de pathos. Grande voix puissante et sombre, parfaite pour les rôles de "drammatico-sfogato"! Bravissima. Intramontabile!
Thank you so much for uploading! One of the greatest voices we ever recorded gives us one of the greatest interpretations of this aria outstanding even among Verdi’s catalog.
Qué hermoso cantaba estaba dama, preciosa interpretación. Una de las Arias más bellas, emocional y profunda del gran Verdi. Por favor suban más de estos registros, así no perdemos el verdadero sabor de la ópera. Mil gracias.
You mean she avoided becoming ingolata? Because she definitely sings in her chest register, and quite powerfully. The only way to do that is to lower the larynx. If you do it ingolata, you swallow the voice and it doesnt project. Modern singers have lost the knowledge how to do it correctly.
@@KajiVocals Sorry Kaj, you cannot sing in the chest register by just lifting the soft palate. Go listen to Callas talk about it. The only way to access the lower register with the amount of projection and clarity and fullness is to drop the larynx. If you force it and swallow the sound, you become ingolata. There is a difference. All the old singers knew this and did this. Its modern singers who have lost the knowledge and abandoned the principles leading to it. Your ears aren't even trained to identify what you think you are listening to.
@@St.Garoosh I study voice science. Chest voice has nothing to do with your soft palate or your larynx. It’s to do with the pattern in your vocal fold vibration. You can produce chest voice no matter your laryngeal position or soft palate position. If anything, your larynx being too low will actually prevent you from going above a certain pitch. Before you say ‘your ears aren’t trained to identify what you think you are listening to’ look at yourself. Your entire statement is filled with inaccurate information regarding how the voice operates. And no, if you needed to lower the larynx to project, the likes of Ethel Merman in pre-amplified theatre in the first quarter of the century would not have been audible. Projection like that has to do with how you shape your vocal tract and adjust your formant coupling to cut through the orchestration.
Now THIS is great singing!!!! You ain't gonna hear this aria sung like this today. I'd rank her right besides Milanov and Tebaldi, and even Callas on this aria. Awesome voice!!!
@@matOpera Callas cannot EVEN sing the 'Invan la pace'--the single most difficult and vital part of the aria. Not to mention her wobble, her pushing, her lousy vocal production..............
A great soprano who retired too soon because she was worried about what she looked like on stage. I love Caniglia in this role too. Also Ligabue and Leontyne Price.
Dzisiejsze śpiewaczki też mogłyby tak śpiewać ale musiały by wrócić do tamtych technik. Dźwięk wydobywany z gardła, poprzez odpowiednie ustawienie między innymi języka, zupełnie inny. Oni śpiewali na tzw. głosach otwartych i, dlatego też śpiewali krótko.
4:16 is weird because with her vocal strength, that high note couldn't be that small. Do you think she did that on purpose or because the technology couldn't handle the volume, so they asked her to sing from the longer distance and then came back closer at lower notes? Birgit Nilsson talked about the same problem.
She's probably singing piano on purpose *while* they had her back away from the horn. The old acoustic method of recordings required the singer to be physically moved toward and away from the horn in order to capture quieter singing and to protect the recording from registering a blast when the singing was voluminous or intense.
@@trrill "Blasting" was less of a problem with Edison discs because they were hill-and-dale rather than lateral cut, and by 1911 Edison's staff had developed fluid-gasketed recording diaphragms to decrease the possibility of it happening even further; there was little physical adjustment of performers in their studios once tests had been made prior to recording. At this date the Edison disc system was still somewhat experimental and most of the London recordings were auditions of a sort; very few were ever commercially issued because Edison's taste in voice and accompaniments intruded far more into disc development (which he felt peculiarly extra-proprietary about) than already-established practices employed in the company's cylinders.
Its marked piano And traditional interpretation is expected by the audience, esp the first set tion and this piano high note. It sounds like an amazing piano that isn't produced today
The bleating exaggerations of the chest voice are interesting, and common among singers of the early decades of the century. Perhaps Rosa Ponselle, with her exquisitely coordinated lower and middle registers, ended the practice?
Erm....You get so much wrong there's no way to correct most of your errors. I'll just say that Price, one of your favorites, has one of the worst bottom registers/misuse of chest ever heard. I'm a Price fan, by the way, and heard her many times, but her chest usage was criminal. Ponselle is hardly a good example of anything that was ever heard again on the planet, and even she had a short top. *galactic eyeroll*
@@ransomcoates546 Don't say stupid things about Celestina. "The Enigma of Boninsegna". by Max de Schauensee (...) When I made my debut in Aida at the Metropolitan,” Boninsegna continued, “I sang with Caruso. Caruso was used to dominating his soprano partners, so I made a bet with a friend that he couldn’t do it with me. There’s a held B flat and an A in our duet in the Nile scene. When I got to that point, I got all breathless and did a B flat as big as a house - a cannonade! (in Italian in the text) - and Caruso had to stop before I did. The next time my Radames was Dippel.” She seemed ecstatic. “Dippel was also replaced when I sang Cavalleria in Philadelphia.” And she laughed uproariously. “But these jealousies - oh God! I’ve never had the character to react.”(...)
![Adelina Agostinelli - Tu che le vanità [Don Carlo] - 1910](http://i.ytimg.com/vi/Mf4ww3oHQ80/mqdefault.jpg)
This is the most sensational soprano voice I have ever heard. Absolutely glorious.
wow!!!!!!!!!!!!!!! THEY HAD VOICES THEN. The more I hear these old recordings the louder I want to say That. Thank you for sharing.
Yes indeed!
What an amazing and clear recording 108 years later. No modern voice compares
My God! ... I was brought up on Italian Opera and the artists of the early 20th Century - but hadn't ever heard of Boninsegna until this evening! .... Her vocal mastery and artistry in this rendition is truly magnificent!
Bonisegna war auch eine der allergrößten Stimmen der Italienischen Oper. Diese Stimmen kommen nie wieder. Das sind Sternstunden der Schöpfung.
better than all younger generations
today will not find anyone like her
😢
She has the full voice and drama this aria needs.
.... and beyond!
Göttliche Stimmen von Göttinen des Gesanges. Dieser Klang bei dieser Reinheit des Tones gepaart mit diesem Stimmumfang - einfach überirdisch !
What I would give to hear THIS on a stage again. Thank you for bringing treasure out into the open again.
I would very like to hear Her live too
AMAZING BEAUTY of character, voice and soul
Una voce dal timbro privilegiato, una linea di canto esemplare ed una interpretazione accorata. La scuola è di primordine e il legato, i passaggi, il medium ed il trillo sono affascinante oltre che perfetti... averne oggi, altro che le "sciantose" travestite da soprano ...
Sciantose di oggi poi..... Elvira Donnarumma cantava meglio di tantissimi soprani attuali.....
Gracias a Dios por existir estas gravacionr
Magnificent! A true Verdi soprano! Singers like Boninsegna and Ponselle make today's sopranos sound ridiculous with their fake voices that need amplified sound systems to even be heard in modern opera houses. These were the best of times to never be heard again.
“...in mezzo a tanto, a tanto duol!”
Personne ne pourrait égaler ce chant puissant, riche de pathos. Grande voix puissante et sombre, parfaite pour les rôles de "drammatico-sfogato"! Bravissima. Intramontabile!
Thank you so much for uploading! One of the greatest voices we ever recorded gives us one of the greatest interpretations of this aria outstanding even among Verdi’s catalog.
I can't believe how beautiful this sounds!
divina .
Avvero celeste!
A much better version than the Columbia 1906 recording, clearer and more dramatic in many ways.
Спасибо за ваш канал!
How I love listening to this recording. I think we should go back to recording with a gramophone. Her voice just floats like a clear beautiful bell!
Absolutely marvellous : thank you.
Qué hermoso cantaba estaba dama, preciosa interpretación. Una de las Arias más bellas, emocional y profunda del gran Verdi. Por favor suban más de estos registros, así no perdemos el verdadero sabor de la ópera. Mil gracias.
What an exquisite voice!
Stunning! I'm particularly impressed that she does not drag her larynx down in the lower passages. Brava!
You mean she avoided becoming ingolata? Because she definitely sings in her chest register, and quite powerfully. The only way to do that is to lower the larynx. If you do it ingolata, you swallow the voice and it doesnt project. Modern singers have lost the knowledge how to do it correctly.
@@St.GarooshIncorrect. She literally sings it with a neutral larynx and a lifted soft palate.
@@KajiVocals Sorry Kaj, you cannot sing in the chest register by just lifting the soft palate. Go listen to Callas talk about it. The only way to access the lower register with the amount of projection and clarity and fullness is to drop the larynx. If you force it and swallow the sound, you become ingolata. There is a difference.
All the old singers knew this and did this. Its modern singers who have lost the knowledge and abandoned the principles leading to it. Your ears aren't even trained to identify what you think you are listening to.
@@St.Garoosh I study voice science. Chest voice has nothing to do with your soft palate or your larynx. It’s to do with the pattern in your vocal fold vibration. You can produce chest voice no matter your laryngeal position or soft palate position. If anything, your larynx being too low will actually prevent you from going above a certain pitch. Before you say ‘your ears aren’t trained to identify what you think you are listening to’ look at yourself. Your entire statement is filled with inaccurate information regarding how the voice operates. And no, if you needed to lower the larynx to project, the likes of Ethel Merman in pre-amplified theatre in the first quarter of the century would not have been audible. Projection like that has to do with how you shape your vocal tract and adjust your formant coupling to cut through the orchestration.
Bellissima!!! Brava!
Meravigliosa!!!
brava celestina!!brava!!comme scritto!!
Bravissima
PERFECTION !!!!!!
Madame Celestina Boninsegna!
just lovely!
Fantastica
Simply true opera
Incantevole ❤
Now THIS is great singing!!!! You ain't gonna hear this aria sung like this today. I'd rank her right besides Milanov and Tebaldi, and even Callas on this aria. Awesome voice!!!
Larry Mitchell Pfffff Callas is not even invited.
Terrance Xu Why so? Callas’s rendition of this aria is the reason why I fell in love with her actually
None of the ladies you mentioned had as much pure voice as Boninsegna!
@@matOpera Callas cannot EVEN sing the 'Invan la pace'--the single most difficult and vital part of the aria. Not to mention her wobble, her pushing, her lousy vocal production..............
Lisa Davidson does not measure up to this, back in the time when sopranos developed true coordinated chest voice.
Brava
3:57 that some solid chest voice, I post war sopranos would often do that too
A great soprano who retired too soon because she was worried about what she looked like on stage. I love Caniglia in this role too. Also Ligabue and Leontyne Price.
Price? How can you like clear voiced songers like Bonisegna and than Price who sung muffled and constricted, with no clarity and lots of hot air?
@@contraltissima Quite easily, thank you.
Price offers nothing to this piece though besides an aspirated voice and collapsed middle and head voice.
Leontyne Price is an exquisite interpreter of this piece.
@@liedersanger1 Agreed
come sentir cantare gli angeli
Dzisiejsze śpiewaczki też mogłyby tak śpiewać ale musiały by wrócić do tamtych technik.
Dźwięk wydobywany z gardła, poprzez odpowiednie ustawienie między innymi języka, zupełnie inny. Oni śpiewali na tzw. głosach otwartych i, dlatego też śpiewali krótko.
4:16 is weird because with her vocal strength, that high note couldn't be that small. Do you think she did that on purpose or because the technology couldn't handle the volume, so they asked her to sing from the longer distance and then came back closer at lower notes? Birgit Nilsson talked about the same problem.
She's probably singing piano on purpose *while* they had her back away from the horn. The old acoustic method of recordings required the singer to be physically moved toward and away from the horn in order to capture quieter singing and to protect the recording from registering a blast when the singing was voluminous or intense.
Duy-Anh Nguyễn In the score this note is pp .....
@@trrill "Blasting" was less of a problem with Edison discs because they were hill-and-dale rather than lateral cut, and by 1911 Edison's staff had developed fluid-gasketed recording diaphragms to decrease the possibility of it happening even further; there was little physical adjustment of performers in their studios once tests had been made prior to recording. At this date the Edison disc system was still somewhat experimental and most of the London recordings were auditions of a sort; very few were ever commercially issued because Edison's taste in voice and accompaniments intruded far more into disc development (which he felt peculiarly extra-proprietary about) than already-established practices employed in the company's cylinders.
@@philipcarli3718 Thank you for this informative response!
Its marked piano
And traditional interpretation is expected by the audience, esp the first set tion and this piano high note.
It sounds like an amazing piano that isn't produced today
Yes...A great soprano,because she sings in an clear modern way..far from her cencury...
Is this really 1911 or 2011?)
1911
He may have meant that the sound seems manipulated by modern technology.
in modern operatic world, she would be classified coloratura soprano lol 😆😅
The bleating exaggerations of the chest voice are interesting, and common among singers of the early decades of the century. Perhaps Rosa Ponselle, with her exquisitely coordinated lower and middle registers, ended the practice?
Erm....You get so much wrong there's no way to correct most of your errors. I'll just say that Price, one of your favorites, has one of the worst bottom registers/misuse of chest ever heard. I'm a Price fan, by the way, and heard her many times, but her chest usage was criminal. Ponselle is hardly a good example of anything that was ever heard again on the planet, and even she had a short top. *galactic eyeroll*
A proper soprano! not a jumped up might be.
Caruso disliked singing with her. A great singer, but apparently bad BO.
Sorry, what is BO ?
@@DCBfanboy Body odor.
@@ransomcoates546 lol
No way 🤣
@@ransomcoates546
Don't say stupid things about Celestina.
"The Enigma of Boninsegna".
by Max de Schauensee
(...) When I made my debut in Aida at the Metropolitan,” Boninsegna continued, “I sang with Caruso. Caruso was used to dominating his soprano partners, so I made a bet with a friend that he couldn’t do it with me. There’s a held B flat and an A in our duet in the Nile scene. When I got to that point, I got all breathless and did a B flat as big as a house - a cannonade! (in Italian in the text) - and Caruso had to stop before I did. The next time my Radames was Dippel.” She seemed ecstatic. “Dippel was also replaced when I sang Cavalleria in Philadelphia.” And she laughed uproariously. “But these jealousies - oh God! I’ve never had the character to react.”(...)