Jump to content

Celestina Boninsegna

From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by Voceditenore (talk | contribs) at 08:03, 20 October 2008 (→Roles: rmv first name of composer). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Celestina Boninsegna(26 February 1877 Reggio nell’Emilia- 14 Febraury 1947 Milan) was an Italian operatic soprano who was particularly admired for her interpretations of the works of Giuseppe Verdi.

Career

Boninsegna began to study singing in her youth with Guglielmo Mattioli in Reggio nell’Emilia. She made her professional opera debut at the unusually young age of 15, singing Norina in Don Pasquale. She entered the Pesaro Conservatory shortly thereafter, where she studied under Virginia Boccabadati. In 1897 she made her début at Bari as Marguerite in Gounod's Faust. Subsequently she sang Rosaura in the first Rome performance of Mascagni’s Le maschere. This was followed by many engagments throughout Italy, Europe, and the United States including Covent Garden (1904), La Scala (1904–5), Teatro Real (1905–6), and the Metropolitan Opera (1906–7). She also appeared in Boston (1909–10), at the Liceu in Barcelona (1911–12), in St Petersburg (1914), and in numerous less important theatres in Italy and abroad. She retired from the stage in 1921 and spent the next two decades teaching singing.

Boninsegna possessed a rich, resonant voice with a wide compass that was particularly suited to Verdi. She was considered one of the finest interpreters of several Verdi heroines including the title role in Aida, Amelia in Un ballo in maschera, and Leonora in both Il trovatore and La forza del destino. Critics particularly admired her smooth vocal delivery and the dignity and refinement that she gave to the vocal lines of the music. However, in an era of dynamic and passionate singing actresses (such as Gemma Bellincioni and Emmy Destinn), Boninsegna's acting skills were somewhat dull in comparison and her career suffered to some extent as a result. Furthermore, with the exception of Santuza in Cavalleria rusticana and the title role in Puccini's Tosca, Boninsegna was either unfamiliar with or simply not cast in the verismo repertory which was very popular during the time she was performing, a problem that prejudiced her career. However, she scored a great success on gramophone records, being one of the first dramatic sopranos whose voice recorded well.

Roles

Recordings

For her day, Boninsegna was a prolific recording artist. She recorded 106 sides, nearly as many as the combined output of her contemporaries Olive Fremstad, Emma Eames, Lillian Nordica, and Marcella Sembrich.[2] She began to record in 1904 for Gramophone & Typewriter Milan with "In quelle trine morbide" from Manon Lescaut and went on to make over thirty recordings for that label by 1918. She also recorded for Pathé, Edison, His Master's Voice and Columbia. Her Columbia recordings, made between 1909 and 1910, were amongst her most acclaimed and were later issued on LP.[3] Many arias from her recordings, including those made for Columbia, are available on CD:

  • Celestina Boninsegna - Arias Label: Pearl 9219
  • Lebendige Vergangenheit (Legendary Voices) - Celestina Boninsegna Label: Preiser 89584
  • Celestina Boninsegna, The Symposium Opera Collection Vol. 13. Label: Symposium 1323

Notes and references

  1. ^ Janko (sometimes spelled Yanko) - opera in three acts by Primo Bandini to a libretto by Enrico Panzacchi revised by Angelo Zanardini. Premiered Teatro Regio di Torino, 1897
  2. ^ Tuggle, Metropolitan Opera Archives
  3. ^ Hoffmann (2005) p. 119
Retrieved from "https://en.wikipedia.org/enwiki/w/index.php?title=Celestina_Boninsegna&oldid=246455693"