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.
•
She recorded 106 sides, nearly as many as the combined output of her contemporaries Olive Fremstad, Emma Eames, Lillian Nordica, and Marcella Sembrich.
Celestina | La Celestina | Celestina Dias | Celestina Aladekoba |