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Celestina Boninsegna (26 February 1877 – 14 February 1947) was an Italian operatic soprano, known for her interpretations of the heroines in Verdi's operas. Although particularly eminent in Verdi's works, she sang a wide repertoire during her 25-year career, including Rosaura in the world premiere of Mascagni's ''Le maschere''.〔''Le maschere'' premiered simultaneously in seven Italian cites. Boninsegna sang in the performance at the Teatro Costanzi in Rome, conducted by Mascagni himself.〕 Boninsegna made many recordings between 1904 and 1918, and her voice was one of the most successfully captured on disc during that period.〔Tuggle, Metropolitan Opera Archives〕 ==Career== Boninsegna was born in Reggio Emilia, where she began to study singing in her youth with Guglielmo Mattioli. She made her professional opera debut at the unusually young age of 15, singing Norina in ''Don Pasquale''.〔Celletti, Rodolfo/Valeria Pregliasco Gualerzi: "Celestina Boninsegna", Grove Music Online〕 Boninsegna entered the Conservatorio Gioachino Rossini in Pesaro shortly thereafter, where she studied under Virginia Boccabadati. In 1897, she made her operatic 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 engagements throughout Italy, elsewhere in mainland Europe, Great Britain and the United States, including at the Royal Opera House, Covent Garden, London (in 1904), La Scala, Milan (1904–5), the Teatro Real, Madrid (1905–6), and the Metropolitan Opera, New York City (1906–7). She also appeared in Boston (in 1909–10), at the Liceu, Barcelona (1911–12), at the Mariinsky Theatre, St Petersburg (1914)—and at numerous less important venues in her homeland and abroad. She retired from the stage in 1921 and spent the next two decades teaching singing. Amongst her pupils was the Australian dramatic soprano Margherita Grandi. Boninsegna possessed a rich, resonant voice with a wide compass that was particularly suited to Verdi's music. In Italy in the 1900-1920 period, she was considered to be one of the finest interpreters of several Verdi heroines, including the title role in ''Aïda'', Amelia in ''Un ballo in maschera'', and Leonora in both ''Il trovatore'' and ''La forza del destino''. Critics particularly admired her relatively smooth vocal delivery and the dignity and refinement that she gave to the vocal lines of the music at hand, although—as the opera commentator and record reviewer Michael Scott details in ''The Record of Singing'' (Duckworth, London, 1977)—her technique was not impeccable, with her ripe lowest register not fully integrated with the upper parts of her voice. (See also the ''New York Times'' of 22 December 1906 for a review of her first Met Aïda and a summary of her vocal strengths and weaknesses.) In an era of dynamic and passionate singing-actresses (such as Gemma Bellincioni, Eugenia Burzio and Rosina Storchio in Italy and Emmy Destinn in New York), Boninsegna's acting skills were dull in comparison, and her career suffered to some extent as a result. Furthermore, with the exception of the part of Santuzza 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 highly popular during the time that she was performing—a problem that prejudiced her career. Nonetheless, she did achieve considerable success on 78-rpm gramophone records, being one of the first lyric-dramatic sopranos whose voice recorded well.〔 She died in Milan in 1947. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Celestina Boninsegna」の詳細全文を読む スポンサード リンク
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