Years ago on accordion forums or blogs (remember blogs?), you used to come across debates between the sound of German vs Italian reeds and accordions, all in good humor, of course. This would usually concern standard or folk instruments, as at the higher end reeds tended to be Italian or have a more refined tone even if not.
The "Italian sound" you like in the Vignoni is simply a different tone personality than what you hear from what I call the Hohner "West German Workhorses" like the Hohner Students, the Concertos, or the bisonoric Coronas or Double Rays. They sent production of the workhorses to China around Y2K, but even now the more expensive Chinese Hohners get pretty close to that mojo in their sound, though the parts and components don't seem as likely to hold up for 60 years.
Now, whether you find the Hohner Workhorse tone "vibrant," or "strident," is all a matter of subjective preference. But for some players of folk or roots genres, that Hohner sound is the sound of joy in a bottle--some roots players hunt for vintage Hohner Students, Concertos, or Coronas, specifically to get that sound.
Others would find the "Italian sound" more lyrical, romantic, and richer, with more dynamic shading. If that is what makes your heart skip a beat, great. I love both, personally. You can save for a new Vignoni, or hunt for a used Italian accordion with the tone personality you like. But there's nothing wrong with the Hohner Student so long as the example is in good repair. For certain use cases, it's a classic in its own right.
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