I really enjoy her voice! The clarity of her enunciation, timbre, and intonation even on these old recordings is simply spellbinding. Though I do agree that the chest voice was a touch forceful at times and not always evenly blended, there were many moments in this video where she very beautifully navigated her passagio, and the sound of her voice in a live setting must have been thrilling.
It's very accurate the full episode of the "Opera Series"! You have to research all the ancient material (in some cases) by a singer and it's also useful to bring to light not well-known singers. As for Celestina Boninsegna, she had big chest voice and I liked her head voice quality above A5, where she seemed to be comfortable. She could probably have gone at least a couple of semitones lower the A3 and higher the C#6 ☺
I like how she has kind of a combination of brightness and "cheerfulness" with some "heft" and chest voice. Makes her sound ultra-feminine to me, and it makes her sound very good in my opinion.
@@KajiVocalsyes, it was obvious, specially in her low notes the sound and resonance is very rich, thanks for that information Kaji, i loved this video❤️
Boninsegna wasn't a lirico spinto, but full dramatic soprano with an insane vocal power. Caruso was mad when he had to sing with her, because he couldn't hear his own voice over hers. I believe the highest note she sang live on stage was high D.
Her tessitura, density of the voice along with what several other people have said was that she was a spinto. I’m not going to use what Caruso said what there has been more than one account that would say something else, moreover I would disagree with it. And I have heard all of her records, as showcased. In fact early in training Boninsegna was mistaken for a lyric coloratura 🙂
@@KajiVocals Almost everyone, who actually heard her live, considered her a dramatic soprano. All the period critiques, newspaper articles, reviews etc. are publicly available in archives. She was considered a dramatic soprano already at her debut. Even her final assessment she received at graduation states that she was a dramatic soprano. So teachers, critics, conductors etc. agreed, that she was a dramatic soprano. If Boninsegna was a lirico spinto by her tessitura, then Callas was a light lyric coloratura.
