# Round 1:Ma dall'arido stelo divulsa ; Arrangi-Lombardi, Welitsch, Boninsigna



## Seattleoperafan (Mar 24, 2013)

PLEASE do yourself a favor and read my intro for these great singers in the next post. By the way this is a 3 round contest and I will experiment with interspersing other contests 
between the rounds to keep your ear fresh.


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## Seattleoperafan (Mar 24, 2013)

I am thrilled to be able to present the singers of this aria, one of Verdi’s greatest arias for soprano and a personal favorite. I am particularly excited to present a new singer to me who ABSOLUTELY blew me away: Gianina Arangi- Lombardi. I wish Callas’s recordings from early in her career in the 50’s had such incredible sound quality as this from the early 30’s. She didn’t take up singing till she was 30 and began as a mezzo, but The Last Prima Donna said she had one of the great high C’s of her day. Cantabile- subito.de, a website by a specialist on historical singers says of her: This is my favorite Italian lirico-spinto soprano. Hers is a voice with a phantastic upper, an eminent middle, a full deep register and she sings with a perfect “voix mixte.” An excellent high register requires a well-trained middle register. Arangi-Lombardi illustrates this basic rule! The dark color of her voice reminds me of Rosa Ponselle and Anita Cerquetti." My sister the voice teacher likes very very few singers but was really impressed with GALombardi.

I would bet most of you only know LJUBA WELITSCH as the greatest Salome of all time, but she was a spectacular Verdi soprano as well. When refusing the role of Senta in The Flying Dutchman she is quoted as saying, "I am not a German peasant girl, I am a sexy Bulgarian." A bio of her from the University of Pittsburg said of her: Impressive in her dramatic interpretation and in soft, sustained lyrical passages, she is considered to be in the same class of dramatic singing actresses as Maria Callas and Maria Jeritza.

Boninsigna was perhaps my favorite discovery from Bonetan’s incredible contests. I got the impression I was not alone in being so impressed with her. I wish she could have been recorded as well as Arangi- Lombardi. She delivers the goods as few other singers have.


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## vivalagentenuova (Jun 11, 2019)

First impressions:
Arangi-Lombardi: I have her Preiser CD which has this aria on it, and listening again here matches my earlier impressions: a very solid (Verdi-solid?) voice that is generally well used. I must say however that I found her interpretation lacking in drive. I don't know if it is the conducting or the studio setting or her, but to me her rendition was plodding even in the more dramatic passages towards the end. She does not lean into her chest register the way the other two do. I also found her top notes lacking. In general, I don't quite have the same impression of her that some of the published critics do as ultra-refined and technically flawless. She's a very strong singer we'd be thanking the opera gods for today, though. I think you're spot on about the similarity to Cerquetti's timbre, though I tend to prefer Cerquetti's interpretations.

Welitsch: I also have her Preiser CD, which has this, and it's one of my favorite recordings of this aria. It's a bit slow, like Arangi-Lombardi, but the phrasing and coloring with the chest voice is magnificent. She hits the Zone, which is the intersection of poise and spontaneity. It's a brighter voice than we're used to hearing, but I think it fits her much better than Salome. Maybe if she'd kept singing this instead, she would have lasted a few more years. 

Boninsegna: Now here's some female chest voice for you, ScottK! Her voice has a very conspicuous break, but it doesn't matter very much to me when she uses it so dramatically and musically. There are a couple sour sounds, but otherwise her rendition is excellent.

It's definitely between Boninsegna and Welitsch, but I'll have to listen again later. At this point I'm leaning Welitsch. For me Rethberg's studio recording is still my favorite, but these two are definitely in the top 5.


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## MAS (Apr 15, 2015)

I listened to Welitsch first, as I was most curious for the unusual repertoire (for her). I really don't like her pronouncing a double "r" when there's only one, as in _poverro_ - elsewhere she proves she knows how to do it properly. It's a pet peeve of mine. Otherwise, this is well sung, light on the lower notes, but superficial to my ears. The Italian is obviously foreign to her (yes, I know she's Bulgarian).

Bonisegna was disappointing to me. Though she sings off the words, she seems not to connect to them; her high notes in places are just touched on. She sounds light weight, but uses her chest liberally. She snatches breaths at odd places. The balance seems to be off in the recording; she is swamped by the orchestra at several points. Weird.

To me, Arrangi-Lombardi has the right stuff for this aria, though she also has the old-fashioned way of just touching some of the _acuti_. She's also light on the chest, taking a high variant on the last note. She's got my vote by default.


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## nina foresti (Mar 11, 2014)

I wish everything were this easy. I found Lubitsch to be the least involved in the aria of the three. Boninsegna did a fine job amidst a rather challenging musical background, but the one who showed a true superb and emotional ending note was Arangi-Lombardi. 
It doesn't take me more than the last 3-5 minutes listening to "get it" especially if I am familiar with the work, as I am with this one.
Just give me Sondra Radvanovsky after doing it live and leave me at peace. (Her later "Morro ma prima ingrazie" was also glorious.)


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## MAS (Apr 15, 2015)

nina foresti said:


> Just give me Sondra Radvanovsky after doing it live and leave me at peace. (Her later "Morro ma prima ingrazie" was also glorious.)


I like Radvanovsky in Verdi, but when she sang it at the Metropolitan Opera some time back (MET in HD) I found her curiously challenged in the role - her diction seemed to have suffered to the point of unintelligibility and it ruined the performance for me.

Her best performances were in *Il Trovatore*, especially when she sang it with Hvorotovsky, though the interaction between them was too much on the S&M side.


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## The Conte (May 31, 2015)

Whilst I recognise the quality of Boninsegna's general vocal production, I just can't warm to her voice, although I like her high notes. Her voice isn't homogenous and the coordination between the registers is clunky. Her dramatic instincts are very exciting to listen to though.

G A-L is much better technically (and probably has the best technique of the three). However, I agree with all that Vivalagentenuova says above, the tempo plods and her interpretation is plain.

Wellitsch has the technique to sing the aria, but also provides dramatic word painting in hushed tones that are as natural as if she were speaking. Her superb interpretation and vocal acting makes her recording the winner in this one.

N.


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## Woodduck (Mar 17, 2014)

Those with reservations about Boninsegna need to factor in both the recorded sound, which distorts her timbre, and the extremely rushed and erractic tempo, which we often encounter on 78 rpm recordings. I have no doubt that this performnace doesn't represent what she did in the opera house. I'd like to be able to rate her higher than I'm compelled to here. 

Arrangi-Lombardi has more of a "Verdi voice" than does Welitsch and is more accurate in her Italian; Welitsch doesn't get the double-consonant idea (gg, rr, tt...). Her low voice has more richness and natural poignancy as well. Still, I enjoyed Welitsch's interpretation of the aria more. I'll put her in first place.


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> Those with reservations about Boninsegna need to factor in both the recorded sound, which distorts her timbre, and the extremely rushed and erractic tempo, which we often encounter on 78 rpm recordings. I have no doubt that this performnace doesn't represent what she did in the opera house. I'd like to be able to rate her higher than I'm compelled to here.
> 
> Arrangi-Lombardi has more of a "Verdi voice" than does Welitsch and is more accurate in her Italian; Welitsch doesn't get the double-consonant idea (gg, rr, tt...). Her low voice has more richness and natural poignancy as well. Still, I enjoyed Welitsch's interpretation of the aria more. I'll put her in first place.


I am never happier in my contests than when people like different singers!!!!! We are going to have a new style of voting towards the end of this contest. This aria is so wonderful it is fun to hear how different divas interpret it.


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## ALT (Mar 1, 2021)

This aria is so amazing. Pure genius. My vote went for GA-L. Boninsegna, though, was a close second, by a hair. Took me a while to decide. FYI, another soprano from that vintage worth exploring is Dusolina Giannini.

P.S.: This site’s server performance has precipitously degraded of late.


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## Tsaraslondon (Nov 7, 2013)

Bonisegna isn't helped by the tempo, the sound or the orchestral playing, though there's no denying the quality of her voice. She also has a marked gear change between her stentorian chest voice and bright, steely top, which I don't find particularly attractive. 

Arranghi-Lombardi also has a very fine instrument and there's no denying we'd all love to hear a voice of this quality today, but her interpretation is a bit uninteresting. Impressive vocally, but just uninvolving.

Welitsch is a singer I know a lot better, and not just from her Salome. She was an appreciable Verdi soprano and also Donna Anna, and though hers doesn't sound like a natural voice for Amelia, I think she gives the most interesting interpretation here, much more alive to the drama than the others. Though her Italian is not idiomatic, she makes more of the words. Welitsch gets my vote.


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## Seattleoperafan (Mar 24, 2013)

ALT said:


> This aria is so amazing. Pure genius. My vote went for GA-L. Boninsegna, though, was a close second, by a hair. Took me a while to decide. FYI, another soprano from that vintage worth exploring is Dusolina Giannini.
> 
> P.S.: This site's server performance has precipitously degraded of late.


I was not aware of her!! I don't have room for her in this contest but I am fitting her into some later contests. Thanks. Lately I find if you keep submitting several times it finally works.


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## MAS (Apr 15, 2015)

Seattleoperafan said:


> I was not aware of her!! I don't have room for her in this contest but I am fitting her into some later contests. Thanks. Lately I find if you keep submitting several times it finally works.


She was a famous *Aida* in her day.


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## ALT (Mar 1, 2021)

Seattleoperafan said:


> I was not aware of her!! I don't have room for her in this contest but I am fitting her into some later contests. Thanks. Lately I find if you keep submitting several times it finally works.


AFAIK, Dusolina Giannini did not record this aria. But there is much of hers on YT. Looking forward to another of your contests.


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## ScottK (Dec 23, 2021)

Man I'm learning stuff on here! First of all, I start listening thinking I'm listening to Ulrica's Re dell'abisso! I like Ballo, have heard it twice, but I dont love it and...as I'm making clear...the women's music does not stay imprinted on me too well. Then, that dark voiced Arangi-Lombardi does nothing, for minutes, to set me straight. I guess this is the benefit of old fashioned chest voice that I'm learning about. I thought she was the most beautiful voiced contralto I'd ever heard! Finally the music starts climbing and I wake up. Now, that big high note didn't sound too soprano-ish...after all that low middle voice singing it sounds sooo high! is it a C? So I leave her saying fabulous except for the top!

Then Welitsch! Did she sing much Verdi? Such a different sound in her middle, probably set off by that wild picture of her - I assume Salome? - but I thought she was phenomenal too. And after one listen, I felt encompassed the entire range the best.

And then the old recording makes yet another argument for the old singers just plain being better. Again and again the best of them stay right on the music but have lots of personality in their singing. I couldn't tell if Boninsegna's sound was as unique as Welitsch or as beautiful as Arangi-Lombardi but man can she sing.

Take away high note points taken or given, I really cannot choose here. But voting is fun so I am voting for Welitsch...with the sound and that phenomenal picture she's just too alluring!


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## ScottK (Dec 23, 2021)

vivalagentenuova said:


> *Boninsegna: Now here's some female chest voice for you, ScottK*! Her voice has a very conspicuous break, but it doesn't matter very much to me when she uses it so dramatically and musically. There are a couple sour sounds, but otherwise her rendition is excellent.


 You made me laugh! And to prove I've got a ways to go, I thought it was the A-L darkness that would scream "chest". Boninsegna, here I come:tiphat:!!!


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## Shaafee Shameem (Aug 4, 2021)

This is my favourite late Verdi soprano aria, and in general, one of the most dramatic arias Verdi wrote.
I have read in more than one place that Arangi-Lombardi, along with Celestina Boninsegna and Giannina Russ were the 3 sopranos who held on to bel canto ideals in verismo dominated prewar and interwar years, when flamboyant, gutsy declamation was favoured over refined, elegant singing. It is worth noting that Arangi-Lombardi was Leyla Gencer’s teacher. Anyways, here, she sings with restraint and poise, which doesn’t come across as undramatic to me. The perfect legato is evident in the opening phrases, particularly in the way she moves into the higher register and phrases through “ Quell'eterea sembianza morrà” and “ Che ti resta, mio povero cor!” I find the next section quite timid to my taste, though she registers fear with understatement. The desperation in “ Ha negli occhi il baleno dell'ira” is wonderful though, and the lyrical phrases at the end are sung poignantly. I was quite disappointed with the low A, as it is quite weak, which I didn’t expect from her, as she started out as a mezzo.
Welitsch doesn’t sound very idiomatic to me, and some of the consonants are pronounced in an Non-Italinate manner, which I don’t quite like. The tempo is quite fast. She sings very well though, particularly the opening section, her legato fine if not as perfect as Arangi-Lombardi’s. The “Ah! chi piange” section though is done very softly, which I don’t like. And the constant breaking of the line with breaths to portray fear seems contrived to me, and impairs the legato. Her voice sounds a tad too small in the fortissimos compared to other well-known Amelias, though her low A is better than Arangi-Lombardi’s, especially because she is a lyric soprano. The closing section too is wonderful, though the high note didn’t seem entirely secure to me. Anyways, a fine reading from Welitsch.
Boninsegna’s timbre was said to be too sweet by Ester Mazzoleni in Rasponi’s ‘The Last Prima Donnas’. It doesn’t sound that way to me, not that one can distinguish anything from such an old recording, but her timbre reminds me of Patti in a way, a kind of burnt, warm yellowish colour, which I love. She has the strongest chest voice here, and phrases the opening section with an even more perfect legato than Arangi-Lombardi. I am not perturbed by the register changes. Although the “Ah! chi piange” section is quite restrained, she sings with more rhythmic pulse and rubato than the others, and her “Ha negli occhi il baleno dell'ira” is intense. Also, unlike the others, she portrays horror in “E m'affisa e terribile sta!” without breaking the line, only through phrasing, the legato intact. Wonderful!! The Low A is soft though not weak; perhaps it is for dramatic purposes, even Callas sings it softly. The closing is poignant, though I find that last baleful chest note a little too much! Anyways, she is the best for me here, though Arangi-Lombardi is not too far behind.


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## eblackadder (10 mo ago)

The Boninsegna recording has long been one of my favorites. The first time I heard it about 35 years ago I was blown away!


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