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I dunno about you, but after hearing the high A flat interpolation at the end of this aria for the first time (many years ago in a pirated live recording of Cornell MacNeil), there are very few renditions of it that can get me excited. I guess I'm spoiled. Luckily there are a few of the greats who had the voice and technique to interpolate it successfully—this one included. Francesco Maria Bonini was one of the first wave of opera singers to make recordings. He had studied with Beniamino Carelli, who was also the teacher of Pasquale Amato, Fernando de Lucia, and Giannina Arangi-Lombardi, among others. Bonini had a wide and varied repertory, from Gluck to Meyerbeer to Donizetti, Verdi, Wagner, and tons of bleeding-edge verismo from the likes of Leoncavallo and Cilea. ..................................... This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school. Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs): https://bit.ly/2W4qmE3