Question: Camilla Pasini (6 November 1875 – 29 November 1935) was an Italian operatic soprano, her sister, Lina Pasini-Vitale was a well known what soprano, a dramatic soprano is a type of operatic soprano with a powerful, rich, emotive voice that can sing over, or cut through, a full orchestra?
Context: Carmen Melis (15 August 1885 – 19 December 1967) was an Italian operatic soprano who had a major international career during the first four decades of the 20th century.  She was known, above all, as a verismo soprano, and was one of the most interesting singing actresses of the early 20th century.  She made her debut in Novara in 1905 and her career rapidly developed in her native country over the next four years.  From 1909-1916 she performed with important opera companies in the United States; after which she was busy performing at many of Europe's most important opera houses. From 1917 until her retirement from the stage in 1935 she was particularly active at the Teatro Costanzi in Rome and at La Scala in Milan.  After her singing career ended, she embarked on a second career as a voice teacher.  Her most notable student was soprano Renata Tebaldi. Romantic Journey is a live album by Russian artist Nikolay Baskov.  The concert took place at Moscow’s Hall of the Luzhniki Stadium.  Baskov is accompanied by a full orchestra and performed duet with Spanish operatic soprano Montserrat Caballé and her daughter Spanish operatic soprano Montserrat Martí Caballé. A spinto soprano (also lirico-spinto, spinto lyric soprano or "pushed lyric") is a type of operatic soprano voice that has the limpidity and easy high notes of a lyric soprano, yet can be "pushed" on to achieve dramatic climaxes without strain.  This type of voice may possess a somewhat darker timbre, too, than the average lyric soprano.  It generally uses "squillo" to "slice" through the sound of a full orchestra, rather than singing over the orchestra like a true dramatic soprano. Emma Carelli (12 May 1877 in Naples – 17 August 1928 near Rome) was an Italian operatic soprano who was particularly associated with the dramatic soprano roles of the verisimo repertoire and the works of Richard Wagner. Ada Adini (1855 – February 1924) was an American operatic soprano who had an active international career from 1876 up into the first decade of the 20th century.  She possessed a large, expressive voice which enabled her to sing a broad range of roles that extended from the coloratura soprano repertoire to dramatic soprano parts.  She made five recordings with Fonotipia Records in Paris in 1905. Camilla Pasini (6 November 1875 – 29 November 1935) was an Italian operatic soprano.  Her sister Lina Pasini-Vitale was a well known Wagnerian soprano and her other sister, Enrica Pasini, had a short career as an operatic mezzo-soprano.  Pasini studied at the Accademia Nazionale di Santa Cecilia in Rome and made her professional opera debut in that city at the Teatro Quirino as Inez in Meyerbeer's "L'Africaine".  She most notably originated the role of Musetta in the original 1896 production of Puccini's "La bohème" at the Teatro Regio in Turin.  She also sang that role at numerous other theaters including La Scala, the Teatro Costanzi in Rome, and in Brescia, Genoa, Trieste, and Asti among others.  In 1904, Pasini traveled to South America where she performed on tour in many countries and cities.  In 1905, Pasini married a lawyer with the surname of Muzi and promptly gave up her career for the next six years.  She returned to the stage in 1911 in the premiere of the opera "La Vigilia di Notte" by Teofilo De Angelisro at the Teatro Costanzi.  She retired from the operatic stage somewhere around 1920. Else Gentner-Fischer (5 September 1883 - 26 April 1943) was a German operatic soprano.  Although she appeared in operas internationally, her career was mainly centered at the Frankfurt Opera where she was a resident artist from 1907-1935.  She excelled in the dramatic soprano repertoire, drawing particular acclaim for her portrayal of Wagnerian heroines.  She was also an exponent of the works of contremporary composers.  Her career was cut short in 1935 due to political pressures and prejudice exerted against her for being married to a Jewish man.  She made recordings with Gramophone & Typewriter Ltd., His Master's Voice, and Polydor Records. Naděžda Kniplová (née Pokorná) (born 18 April 1932) is a Czech operatic soprano who had an active international career from the 1950s through the 1980s.  Kniplová possessed a large voice with a sonorous, metallic, dark timbre that was particularly well suited to the dramatic soprano repertoire.  While she was most admired in Czech operas and as Wagnerian heroines, she sang a wide repertoire that also encompassed Italian, Russian, and Hungarian language roles.  A fine actress, her performances were praised for their intensity and pathos.  However, some critics commented on a certain lack of steadiness or purity in her singing.  Her voice is preserved on a number of recordings made on the Supraphon and Decca labels. Carolina Pasini-Vitale, known as Lina, (born Rome, November 8, 1872 – died there November 23, 1959) was an Italian soprano.  Sister of Camilla Pasini, she studied in Rome before debuting at the Teatro Dal Verme in Milan in Cilea's "La tilda".  She saw early success at La Scala, in Rome, and in Turin singing Mascagni's Iris and Suzel.  She also appeared as Micaëla, Mimi, and Gretel.  In 1897 she married the conductor Edoardo Vitale.  Beginning in 1914 she became known for her performance in the operas of Richard Wagner, creating Kundry in Buenos Aires for the South American premiere of "Parsifal" in 1914.  In 1926 she appeared as Brünnhilde in Rome; in 1928 she sang Kundry in Naples, and thereafter retired.  She recorded numerous excerpts from various operas during her career.  Another sister, Enrica Pasini, had a brief career as a mezzo-soprano.  Her son was Riccardo Vitale, who eventually became director of the Rome Opera House from the 1940s to the 1970s. A dramatic soprano is a type of operatic soprano with a powerful, rich, emotive voice that can sing over, or cut through, a full orchestra.  Thicker vocal folds in dramatic voices usually (but not always) mean less agility than lighter voices but a sustained, fuller sound.  Usually this voice has a lower tessitura than other sopranos, and a darker timbre.  They are often used for heroic, often long-suffering, tragic women of opera.  Dramatic sopranos have a range from approximately low A (A) to "high C" (C).  Some dramatic sopranos, known as Wagnerian sopranos, have an exceptionally big voice that can assert itself over a large orchestra (of more than 80 or even 100 pieces).  These voices are substantial, often denser in tone, extremely powerful and, ideally, evenly balanced throughout the vocal registers. Wagnerian sopranos usually play mythic heroines.  Successful Wagnerian sopranos are rare and often Wagnerian roles are performed by Italianate dramatic sopranos.
Answer: Wagnerian