Dame Joan Sutherland

Soprano

Dame Joan Sutherland

Dame Joan Sutherland OM, AC, DBE (7th November 1926 - 10th October 2010) was an Australian opera singer noted for her contribution to the bel canto revival of the 1950s and 1960s.

Coming to singing relatively late, she trained first in her native Australia and subsequently in London at the Royal College of Music and was hired as a house soprano at Covent Garden soon after graduation. Initially marked out as a potential dramatic soprano, her early roles for the company included Helmwige, Aida, Mozart's Countess and Amelia in Un Ballo in Maschera, but under the tutelage of the bel canto enthusiast and fellow Australian Richard Bonynge, (whom she later married) Sutherland began to work privately on the dramatic coloratura roles of Rossini, Donizetti and Bellini. In 1959, she was invited to sing Lucia di Lammermoor at the Royal Opera House in a production conducted by Tullio Serafin and staged by Franco Zeffirelli. It was a breakthrough for Sutherland's career, and as soon as she finished the famous Mad Scene, she was a star. She and Bonynge went on to resurrect many gems of the bel canto repertoire together in all the major international opera-houses: particular triumphs included the lead roles in Bellini's La Sonnambula, I Puritani and Beatrice di Tenda and Donizetti's La Fille du Regiment and Lucrezia Borgia, as well as French obscurities such as Massenet's Esclarmonde and Le Roi de Lahore.

Made a Dame of the British Empire in 1979, she retired from the operatic stage in 1990, but continued to sit on competition juries well into her eighties and was particularly associated with Cardiff Singer of the World, with which she was closely involved from 1993 to 2009. She made many studio recordings, mostly for the Decca/London label, and was hailed as 'La Stupenda' and the 'Voice Of The Century'. She died at her home in Switzerland on 10th October 2010.

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Donizetti: Lucrezia Borgia

Donizetti: Lucrezia Borgia


Joan Sutherland (Lucrezia), Alfredo Kraus (Gennaro), Anne Howells (Maffio Orsini), Stafford Dean (Don Alfonso), Robin Leggate (Jacopo Liveretto), Jonathan Summers (Don Apostolo Gazella), Phillip Gelling (Ascanio Petrucci), Michael Goldthorpe (Oloferno Vitellozzo), Paul Hudson (Gubetta), Francis Egerton (Rustighello), Roderick Kennedy (Astolfo)

Orchestra of the Royal Opera House, Royal Opera Chorus, Richard Bonynge, John Copley (dir.)

Donizetti's operatic portrayal of Lucrezia Borgia is one of the most demanding roles for a soprano, and only such accomplished stars as Joan Sutherland have risen to the challenge. Lucrezia was notorious in Renaissance Ferrara as much for her beauty as for the political intrigue and suspicious deaths that surrounded her and her family. Here Sutherland deftly captures the complexity of a powerful, vengeful woman, who is at the same time a loving mother - in the final scenes she chillingly shows her unsuspecting victims the coffins in which they will be buried, but cannot bear the heartbreaking revelations that follow. Richard Bonynge conducts a cast including Alfredo Kraus as Gennaro, supported by the Orchestra of the Royal Opera House and Royal Opera Chorus, in John Copley's production for The Royal Opera. This recording, with English subtitles, is preserved in its original Standard Definition and 4:3 picture format.

NB This product has burnt-in English subtitles and no alternative language-options

“Copley’s flamboyant staging of Donizetti’s tragedy finds Sutherland offering remarkable technical feats though few words and less acting; Alfredo Kraus’s stylish Gennaro partially makes up for her deficiencies.” BBC Music Magazine, August 2017 ***

“Fleet, if not polished...Sutherland tackles the title role with her usual attributes of a voice of considerable size, extention and pinpoint agility, no acting skills but a grand presence...Copley's lavish production is traditional to a T, with the extra fascination of watching 16th-century Italy through the lens of 1980s 'Dallasty' fashion - sleeves have never been bigger.” Opera Now, June 2017 ****

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Supreme Sopranos

Supreme Sopranos


Bellini:

Casta Diva (from Norma)

Montserrat Caballe (soprano)

Donizetti:

Pour ce contrat fatal...Salut à la France (from La fille du régiment)

Beverly Sills (soprano)

Gounod:

Prison Scene (from Faust)

Lisa della Casa (soprano), Nicolai Gedd (tenor), Cesare Siepi (bass)

Puccini:

In questa reggia (from Turandot)

Birgit Nilsson (soprano)

Con onor muore (from Madama Butterfly)

Renata Tebaldi (soprano)

Si, mi chiamano Mimi (from La Bohème)

Victoria de los Angeles (soprano)

Un bel di vedremo (from Madama Butterfly)

Renata Tebaldi (soprano)

O soave fanciulla (from La Bohème)

Victoria de los Angeles (soprano), Brian Sullivan (tenor)

O mio babbino caro (from Gianni Schicchi)

Renata Scotto (soprano)

Rossini:

Una voce poco fa (from Il barbiere di Siviglia)

Roberta Peters (soprano)

Thomas, Ambroise:

A vos jeux, mes amis (from Hamlet)

Joan Sutherland (soprano)

Verdi:

È strano! è strano!...Ah! fors è lui...Sempre libera (from La Traviata)

Anna Moffo (soprano)

Mi parea … Piangea cantando 'Willow Song' (from Otello)

Joan Sutherland (soprano)

Tu che le vanità (from Don Carlo)

Mirella Freni (soprano)

Ritorna vincitor! (from Aida)

Leontyne Price (soprano)

Pace, pace mio Dio! (from La forza del destino)

Leontyne Price (soprano)

Wagner:

Mild und leise 'Isolde's Liebestod' (from Tristan und Isolde)

Eileen Farrell (soprano)


A stellar collection of live performances by some of the most celebrated sopranos of the twentieth century including Birgit Nilsson, Leontyne Price, Beverly Sills, Joan Sutherland, Renata Tebaldi, Montserrat Caballé, Renata Scotto, and more, in opera arias and scenes. Includes Sutherland’s 1961 American TV debut, singing arias from Hamlet and Otello, newly re-mastered and released for the first time in color. Color/B&W, (Mono/Stereo), 98 minutes, English subtitles.

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Leopold Stokowski: A Gala Concert 1963

Leopold Stokowski: A Gala Concert 1963


Donizetti:

Il dolce suono mi colpì di sua voce! … Spargi d'amaro pianto (from Lucia di Lammermoor)

Joan Sutherland (soprano)

Enescu:

Romanian Rhapsody in A major, Op. 11 No. 1

Giordano, U:

Un dì, all' azzurro spazio (from Andrea Chénier)

Franco Corelli (tenor)

Puccini:

Recondita armonia (from Tosca)

Franco Corelli (tenor)

Rachmaninov:

Rhapsody on a Theme of Paganini, Op. 43

Susan Starr (piano)

Strauss, R:

Salome: Dance of the Seven Veils

Verdi:

La forza del destino Overture


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Love Live Forever

Love Live Forever

The Romance of Musical Comedy


Fall, L:

Medley

Fraser-Simson:

Love Will Find A Way (from The Maid of the Mountains)

Friml:

Indian Love Call (from Rose Marie)

German:

Tom Jones, Act III: For Tonight (Sophia's Waltz-Song)

Herbert, V:

When you're away (from The Only Girl)

Heuberger:

Gehen wir ins Chambre séparée (from Der Opernball)

Kern:

And Love Was Born (from Music In The Air)

Make Believe (from Showboat)

Kreisler:

Stars In My Eyes (from The King Steps Out)

Lehár:

Wär' es auch nichts als ein Augenblick (from Das Fabriksmädel)

Viljalied (from Die lustige Witwe)

Love, love for ever (from Paganini)

Massenet:

Air de Nina (from Chérubin)

Millöcker:

Die Dubarry: Die Dubarry

Posford:

At the Balalaika from Balalaika

Rodgers, R:

Falling in love with love (from The Boys from Syracuse)

Romberg, S:

Deep in my heart, dear

The Desert Song: The Desert Song

Straus, O:

Leise, ganz leise klingt's durch den Raum (from Ein Walzertraum)

My Hero from The Chocolate Soldier

Strauss, J, II:

Nun's Chorus from Casanova

Zeller:

Schenkt man sich Rosen in Tirol (from Der Vogelhändler)


Joan Sutherland (soprano)

Ambrosian Light Opera Chorus & New Philharmonia Orchestra, Richard Bonynge

Light opera and musical theatre rub shoulders in this delightful compendium of favourites from the late-nineteenth and early-twentieth century favourites. With a few exceptions, such as Lehár’s Merry Widow, many of the operettas from which these songs and arias are taken are largely forgotten and seldom performed, but their ‘hits’ remain evergreen.This reissue includes the original sleeve notes by Ronald Hill that accompanied the original LP release.

“What is immediately obvious is Sutherland’s own delight in singing this music, an the accompaniments have matching infectious qualities, with Bonynge obviously entirely at home, providing the necessary light touch and idiomatic feeling for rubato. The sumptuous recording catches the glory of Sutherland’s voice to perfection against a sparkingly rich orchestral and vocal backing.” Penguin Guide ***

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Gounod: Faust (highlights)

Gounod: Faust (highlights)


Franco Corelli (Dr. Faust), Nicolai Ghiaurov (Méphistophélès), Joan Sutherland (Marguerite)l, Robert Massard (Valentin), Raymond Myers (Wagner), Monica Sinclair (Marthe) & Margreta Elkins (Siebel)

Highgate School Choir, Ambrosian Opera Chorus & London Symphony Orchestra, Richard Bonynge

Recorded in 1966 in superb ‘Decca Sound’, these highlights from Gounod’s most widely-performed opera extracts music from the second act onwards. The Soldier’s Chorus has rarely been done with such swagger, Ghiaurov is a terrifying Mephistopheles and Corelli a passionate Dr. Faust.

“I like Richard Bonynge’s conducting very much. It is full-blooded and zestful […] the recording is unusually bold and bright, and of that “strong” kind which sounds at its best with a high volume setting, plenty of space – and tolerant neighbours! There is plenty to enjoy in Faust; and plenty to enjoy here” Gramophone Magazine, January 1967

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Mozart: Die Zauberflöte, K620

Mozart: Die Zauberflöte, K620

Recorded live at the Royal Opera House, Covent Garden, January 1962


Richard Lewis (Tamino), Geraint Evans (Papageno), Joan Sutherland (Königin der Nacht), Hans Hotter (Sprecher), Joan Carlyle (Pamina), David Kelly (Sarastro), Robert Bowman (Monostatos), Jenifer Eddy (Papagena), Edgar Evans (1er Geharnischter), Victor Godfrey (2er Geharnischter), Judith Pierce (Erste Dame), Josephine Veasey (Zweite Dame), Monica Sinclair (Dritte Dame), Margaret Neville (Erster Knabe), Ann Hood (Zweiter Knabe), Marian Roberts (Dritter Knabe), John Dobson (Erster Priester), Ronald Lewis (Zweiter Priester)

Covent Garden, Otto Klemperer

This largely British cast – the one exception being Hans Hotter as the Speaker – was very much the resident company at Covent Garden in the early sixties and even Hotter was a regular guest there. The star of the evening was Geraint Evans as Papageno, whose interpretation of the role was already very familiar but who rose to new heights of excellence on this occasion. David Cairns, writing in The Spectator said of him: ‘Geraint Evans’s Papageno – inspired even for him – is an unending delight, radiating humanity, mercurial, dark-eyed, unpredictable, brilliantly funny, always drawing the attention without ever stealing the scene...’. In addition to Evans, the performer who received the most praise was Joan Carlyle, a member of the company since 1955, who was performing Pamina for the first time. David Cairns reported that her singing was ‘pure, sensitive and strong and that her acting repeatedly touched the heart by its sureness and sincerity.’ Indeed, in the years that followed she established herself as a major star of the company in a wide variety of roles. Hans Hotter also made a strong impact in the brief but important role of the Speaker of the Temple. Superbly sung, his was a performance of complete musical and dramatic accomplishment.

Harold Rosenthal felt that for an artist of his calibre to undertake such a small role spoke volumes for his integrity, and the fact that he treated it with as much care and dignity, as if he were singing Wotan, was an object lesson for every member of the local company. Of the other principals, Richard Lewis repeated his familiar and pleasingly well-sung Tamino and the two pairs of men: John Dobson and Ronald Lewis (Two Priests) and Edgar Evans and Victor Godfrey (Two Armed Men), all veterans of the resident company, contributed first class performances.

“Here we have the real theatrical experience. It's not perfect, of course. Klemperer's speeds, which are much as on the later recording, caused problems here and there...Carlyle never puts a foot wrong...Lewis sings a lovely ardent Portrait aria...Evans, in complete command of the audience, is funny and touching...I listened with a smile on my face and a tear in my eye.” Gramophone Magazine, July 2015

“there’s no denying that the 76-year-old Klemperer’s interpretation could sometimes do with a lighter spring in its step. But his leisurely approach and careful balancing allow details of texture, often obscured, to stand out. He gets committed performances, too, from the largely British cast.” Sunday Times, 26th April 2015

“this mono recording of the opening night, remastered from BBC tapes, shows how much higher vocal expectations must have been half a century ago, for by today’s standards much of it sounds very good indeed. Klemperer’s conducting is certainly rather staid and heavyweight...But there’s an honesty about the performance that’s totally convincing.” The Guardian, 23rd April 2015 ***

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Donizetti: Lucia di Lammermoor

Donizetti: Lucia di Lammermoor


Joan Sutherland (Lucia), Renato Cioni (Edgardo), Cesare Siepi (Raimondo), Robert Merrill (Enrico), Kenneth MacDonald (Arturo), Ana Raquel Satra (Alisa), Rinaldo Pelizzoni (Normanno)

Chorus and Orchestra of the Accademia di Santa Cecilia, Rome, John Pritchard

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Luciano Pavarotti: Classic Duets

Luciano Pavarotti: Classic Duets


Bizet:

Au fond du temple saint (from Les Pêcheurs de Perles)

Nicolai Ghiaurov (bass)

Donizetti:

Qui di sposa eterna...Ah! Verrano a te sull'aure (from Lucia di Lammermoor)

Renata Scotto (soprano)

Chi mi frena in tal momento? (from Lucia di Lammermoor)

Joan Sutherland (soprano), Huguette Tourangeau (mezzo), Ryland Davies (tenor), Sherrill Milnes (baritone), Nicolai Ghiaurov (bass)

Giordano, U:

Vicino a te (from Andrea Chénier)

Montserrat Caballe (soprano)

Mascagni:

Suzel, buon di 'Cherry Duet' (from L'amico Fritz)

Cecilia Bartoli (mezzo)

Puccini:

O soave fanciulla (from La Bohème)

Mirella Freni (soprano)

Vogliatemi bene, un bene piccolini (from Madama Butterfly)

Mirella Freni (soprano)

Nessun dorma (from Turandot)

Verdi:

Libiamo, ne' lieti calici (from La Traviata)

Joan Sutherland (soprano)

Parigi, o cara (from La Traviata)

Cheryl Studer (soprano)

Teco io sto (from Un ballo in maschera)

Renata Tebaldi (soprano)

È il sol dell'anima (from Rigoletto)

June Anderson (soprano)

Bella figlia dell'amore (from Rigoletto)

Joan Sutherland (soprano), Huguette Tourangeau (mezzo)

O terra, addio (from Aida)

Maria Chiara (soprano), Ghena Dimitrova (soprano)

Giá nella notte densa (from Otello)

Kiri Te Kanawa (soprano)


Decca - 4787583

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Puccini: Turandot

Puccini: Turandot


Joan Sutherland (Turandot), Luciano Pavarotti (Calaf), Montserrat Caballé (Liù), Nicolai Ghiaurov (Timur), Tom Krause (Ping), Pier Francesco Poli (Pang), Piero De Palma (Pong), Peter Pears (L'imperatore Altoum), Sabin Markov (Un mandarino)

London Philharmonic Orchestra, John Alldis Choir, Zubin Mehta

“Sutherland gives an intensely appealing interpretation, while Pavarotti gives a performance equally imaginative. Mehta directs a gloriously rich and dramatic performance. Still the best-sounding Turandot on CD.” Penguin Guide

“this recording...works for me on every level. Of course you get Pavarotti singing Nessun dorma at his lyrical best, but more importantly than that, Montserrat Caballé sings Liù, showing off her famed pianissimo to great effect at the end of Signore, ascolta. Finally, as a bonus bit of luxury casting, Peter Pears takes the small role of Turandot's father, Emperor Altoum.” James Longstaffe, Presto Classical, July 2014

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Bononcini, G B: Griselda (highlights)

Bononcini, G B: Griselda (highlights)


Among the bel canto and verismo operatic repertoire Richard Bonynge recorded for Decca, he also found time to unearth much hitherto forgotten ballet scores, as well as forgotten music from the Baroque and Classical eras. Music by J.C. Bach and Salieri were recorded, rare Baroque overtures were explored and he also recorded three largely forgotten Baroque operas – Graun’s Montezuma and Bononcini’s Griselda (both in highlight form) and Shield’s Rosina (complete). All three recordings emanated from the 1960s and many included Australians in the casts, among them Lauris Elms, Joan Sutherland, Monica Sinclair, Margreta Elkins and Kenneth MacDonald.

Giovanni Bononcini was born in 1670, in Modena, into a family of musicians and composers. He was taught first by his father, and then by G.P. Colonna in Bologna. In 1719 the Royal Academy of Music was founded in London with the purpose of setting up a fund to support Italian opera; Handel was its chief composer and musical director, but Bononcini also contracted as one of the composers. Griselda was first performed in London on 22 February 1722 with a libretto by Paolo Antonio Rolli; the story was adapted from a version by Apostolo Zeno first heard in Venice 1701, set to Pollarolo’s music. The plot deals with court intrigue and true love across social barriers, of kings mingling with shepherdesses.

“with Lauris Elms moving in the title-role, this highlights version registers impressively.” BBC Music Magazine, January 2015 ****

“Monica Sinclair rattles through three octaves with enough masculinity for the whole cast. In the title role Lauris Elms sings with charm, and makes much of her opportunities.” Gramophone Magazine

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