Joan Sutherland

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Biography

Dame Joan Alston Sutherland , Order of Merit|OM , Companion of the Order of Australia|AC , Dame Commander of the Order of the British Empire|DBE (7& nbsp;November 192610& nbsp;October 2010) was an Australian voice type|dramatic coloratura soprano noted for her contribution to the renaissance of the bel canto repertoire from the late 1950s through to the 1980s.

One of the most remarkable female opera singers of the 20th century, she was dubbed La Stupenda by a La Fenice audience in 1960 after a performance of the title role in Handel's Alcina . She possessed a voice of beauty and power, combining extraordinary agility, accurate intonation, "supremely" pinpoint staccato s,, Opera Britannia (6 July 2009). Retrieved 27 September 2010. a splendid trill (music)|trill and a tremendous upper register, although music critics often complained about the imprecision of her diction. Her friend Luciano Pavarotti once called Sutherland the "Voice of the Century"; Montserrat Caballé described the Australian's voice as being like "heaven".

Early life and career

Joan Sutherland was born to Scottish people|Scottish parents in Sydney, and attended St Catherine's School, Waverley|St Catherine's School in the suburb of Waverley, New South Wales . As a child, she listened to and imitated her mother's singing exercises. Her mother, a mezzo-soprano , had taken voice lessons but never considered making a career as a professional singer. Sutherland was 18 years old when she began seriously studying voice with John and Aida Dickens. She made her concert debut in Sydney, as Dido in Purcell's Dido and Aeneas , in 1947. In 1951, she made her stage debut in Eugene Aynsley Goossens|Eugene Goossens 's Judith . In 1951, after winning Australia's most important competition, the Sun Aria, now known as the Sydney Eisteddfod McDonald's Operatic Aria in 1949., The West Australian (4 October 1949) She then went to London to further her studies at the Opera School of the Royal College of Music with Clive Carey . She was engaged by the Royal Opera House , Covent Garden , as a utility soprano, and made her debut there on 28& nbsp;October 1952, as the First Lady in The Magic Flute , followed in November by a few performances as Clotilde in Vincenzo Bellini's Norma (opera)|Norma , with Maria Callas as Norma.

Being an admirer of Kirsten Flagstad in her early career, she trained to be a Richard Wagner|Wagner ian dramatic soprano. In December 1952, she sang her first leading role at the Royal Opera House, Amelia in Un ballo in maschera . Other roles included Agathe in Der Freischütz , the Countess in The Marriage of Figaro , Desdemona in Otello , Gilda in Rigoletto , Eva in Die Meistersinger von Nürnberg , and Pamina in The Magic Flute . In 1953, she sang the role of Lady Rich in Benjamin Britten's Gloriana a few months after its world premiere, and created the role of Jennifer in Michael Tippett's The Midsummer Marriage , on 27& nbsp;January 1955.

Sutherland married Australian conductor and pianist Richard Bonynge on 16& nbsp;October 1954. Their son, Adam, was born in 1956. Bonynge gradually convinced her that Wagner might not be her Fach , and that since she could produce high notes and coloratura with great ease, she should perhaps explore the bel canto repertoire. She eventually settled in this Fach , spending most of her career singing fach#Dramatischer Koloratursopran|dramatic coloratura soprano .

In 1957, she appeared in Handel's Alcina with the Handel Opera Society, and in Donizetti's Emilia di Liverpool , in which performances her bel canto potential was clearly demonstrated, vindicating her husband's judgement. The following year she sang Donna Anna in Don Giovanni in Vancouver.

In 1958, at the Royal Opera House, after singing, "Let the Bright Seraphim", from Handel's oratorio, Samson (Handel)|Samson , she received a ten minute-long standing ovation.

La Stupenda

In 1959, Sutherland was invited to sing Lucia di Lammermoor at the Royal Opera House in a production conducted by Tullio Serafin and staged by Franco Zeffirelli . The role of Edgardo was sung by her fellow Australian Kenneth Neate , who had replaced the scheduled tenor at short notice. It was a breakthrough for Sutherland's career, and, upon the completion of the famous Mad Scene, she had become a star. In 1960, she recorded the album The Art of the Prima donna|Prima Donna , which remains today one of the most recommended opera albums ever recorded: the double LP set won the 4th Grammy Awards|Grammy Award for Grammy Award for Best Classical Vocal Performance|Best Classical Performance – Vocal Soloist in 1962. The album, a collection consisting mainly of coloratura arias, displays her seemingly effortless coloratura ability, high notes and opulent tones, as well as her exemplary trill. The album was added to the National Film and Sound Archive 's Sounds of Australia registry in 2011.
By the beginning of the 1960s, Sutherland had already established a reputation as a diva with a voice out of the ordinary. She sang Lucia to great acclaim in Paris in 1960 and, in 1961, at La Scala and the Metropolitan Opera . In 1960, she sang a superb Alcina at La Fenice , Venice, where she was nicknamed La Stupenda ("The Stunning One"). Sutherland would soon be praised as La Stupenda in newspapers around the world. Later that year (1960), Sutherland sang Alcina at the Dallas Opera, with which she made her US debut.

Her Metropolitan Opera debut took place on 26 November 1961, when she sang Lucia . After a total of 223 performances in a number of different operas,, MetOpera database her last appearance there was a concert on 12& nbsp;March 1989. During the 1978–82 period her relationship with the Met severely deteriorated when Sutherland had to decline the role of Constanze in Mozart's Die Entführung aus dem Serail , more than a year before the rehearsals were scheduled to start. The opera house management then declined to stage the operetta The Merry Widow especially for her, as requested; subsequently, she did not perform at the Met during that time at all, even though a production of Rossini's Semiramide had also been planned, but later she returned there to sing in other operas.

During the 1960s, Sutherland had added the greatest heroines of bel canto ("beautiful singing") to her repertoire: Violetta in Verdi's La traviata , Amina in Bellini's La sonnambula and Elvira in Bellini's I puritani in 1960; the title role in Bellini's Beatrice di Tenda in 1961; Marguerite de Valois in Meyerbeer's Les Huguenots and the title role in Rossini's Semiramide in 1962; Norma in Bellini's Norma (opera)|Norma and Cleopatra in Handel's Giulio Cesare in 1963. In 1966 she added Marie in Donizetti's La fille du régiment , which became one of her most popular roles, because of her perfect coloratura and lively, funny interpretation.

In 1965, Sutherland toured Australia with the Sutherland-Williamson Opera Company. Accompanying her was a young tenor named Luciano Pavarotti , and the tour proved to be a major milestone in Pavarotti's career. Every performance featuring Sutherland sold out.

During the 1970s, Sutherland strove to improve her diction, which had often been criticised, and increase the expressiveness of her interpretations. She continued to add dramatic bel canto roles to her repertoire, such as Donizetti's Maria Stuarda and Lucrezia Borgia (opera)|Lucrezia Borgia , as well as Massenet's extremely difficult Esclarmonde , a role that few sopranos attempt. With Pavarotti she made a very successful studio-recording of Turandot in 1972 under the baton of Zubin Mehta , though she never performed the role on stage.

Sutherland's early recordings show her to be possessed of a crystal-clear voice and excellent diction. However, by the early 1960s her voice lost some of this clarity in the middle register, and she often came under fire for having unclear diction. Some have attributed this to sinus surgery; however, her major sinus surgery was done in 1959, immediately after her breakthrough Lucia at Covent Garden. Joan Sutherland , Russell Braddon , Collins, 1962 In fact, her first commercial recording of the first and final scene of Lucia reveals her voice and diction to be just as clear as prior to the sinus procedure. Her husband Richard Bonynge stated in an interview that her "mushy diction" occurred while striving to achieve perfect legato. According to him, it is because she earlier had a very Germanic "un-legato" way of singing. She clearly took the criticism to heart, as, within a few years, her diction improved markedly and she continued to amaze and thrill audiences throughout the world.

In the late 1970s, Sutherland's voice started to decline and her vibrato loosened to an intrusive extent. However, thanks to her vocal agility and solid technique, she continued singing the most difficult roles amazingly well. During the 1980s, she added Anna Bolena , Amalia in I masnadieri and Adriana Lecouvreur to her repertoire, and repeated Esclarmonde at the Royal Opera House performances in November and December 1983. Her last full-length dramatic performance was as Marguerite de Valois ( Les Huguenots ) at the Sydney Opera House in 1990, at the age of 63, where she sang Home& #33; Sweet Home!|Home Sweet Home for her encore. Her last public appearance, however, took place in a gala performance of Die Fledermaus on New Year's Eve, 1990, at Covent Garden, where she was accompanied by her colleagues Luciano Pavarotti and the mezzo-soprano Marilyn Horne .

According to her own words, given in an interview with The Guardian newspaper in 2002, her biggest achievement was to sing the title role in Esclarmonde . She considered those performances and recordings her best.

Retirement years

After retirement, Sutherland made relatively few public appearances, preferring a quiet life at her home in Les Avants , Switzerland. One exception was her 1994 address at a lunch organised by Australians for Constitutional Monarchy . In that address, she complained about having to be interviewed by a clerk of Chinese people|Chinese or Indian people|Indian background when applying to renew her Australian passport. Her comments caused controversy among some sections of the community at the time.

Sutherland had a leading role as Mother Rudd in the 1995 comedy film Dad and Dave: On Our Selection (1995 film)|Dad and Dave: On Our Selection opposite Leo McKern and Geoffrey Rush .

In 1997 she published an autobiography, ''The Autobiography of Joan Sutherland: A Prima Donna's Progress . It received generally scathing reviews for its literary merits,"One Long Flat Note", Anthony Clarke, The Sydney Morning Herald , Spectrum, 20& nbsp;December 1997, p.& nbsp;10 but it does contain a complete list of all her performances, with full cast lists.

Her official biography, Joan Sutherland: The Authorised Biography , published in February 1994, was written by Norma Major , wife of the then prime minister John Major ., profile at the British Prime Minister's Office

In 2002 she appeared at a dinner in London to accept the Royal Philharmonic Society 's gold medal. She gave an interview to The Guardian in which she lamented the lack of technique in young opera singers and the dearth of good teachers.Martin Kettle, , The Guardian , May& nbsp;8, 2002. By this time she was no longer giving master classes herself; when asked by Italian journalists in May 2007 why this was, she replied: "Because I'm 80 years old and I really don't want to have anything to do with opera any more, although I do sit on the juries of singing competitions."Alberto Mattioli, , La Stampa , 23& nbsp;May 2007. The BBC Cardiff Singer of the World competition|Cardiff Singer of the World competition was the one that Sutherland was most closely associated with after her retirement. She began her regular involvement with the event in 1993, serving on the jury five consecutive times and later, in 2003, becoming its patron..

On 3 July 2008, she fell and broke both of her legs while gardening at her home in Switzerland. Daily Mail (7& nbsp;July 2008) She completely recovered and attended a 2009 luncheon hosted by Elizabeth II|Queen Elizabeth at Buckingham Palace in honour of members of the Order of Merit.

Death

On 11 October 2010, Sutherland's family announced that she had died at her home at Les Avants in Switzerland the previous day of cardiopulmonary failure – "the heart just gave out...When it came to the point that she physically couldn't do anything, she didn't want to live any more. She wanted to go, she was happy to go, and in the end she died very, very peacefully." Though she recovered from her fall in 2008, it led to more serious health problems. A statement from her family said "She's had a long life and gave a lot of pleasure to a lot of people." Sutherland had requested a small, private funeral service. Her funeral was held on 14 October and Opera Australia planned a tribute to her. Artistic director of Opera Australia, Lyndon Terracini , said "We won't see her like again. She had a phenomenal range, size and quality of voice. We simply don't hear that any more." Sutherland is survived by her husband, son, daughter-in-law and two grandchildren.

Prime Minister of Australia|Australian Prime Minister Julia Gillard said, "She was of course one of the great opera voices of the 20th century," adding that Dame Joan showed a lot of "quintessential Australian values. She was described as down to earth despite her status as a diva. On behalf of all Australians I would like to extend my condolences to her husband Richard and son Adam and their extended family at this difficult time. I know many Australians will be reflecting on her life's work today."

Memorial service

A State Memorial Service on 9 November 2010, arranged by Opera Australia, was held at the Sydney Opera House .Joyce Morgan, 'A Fitting Finale for La Stupenda' http://www.smh.com.au/entertainment/opera/a-fitting-finale-for-la-stupenda-20101109-17m2d.html Speakers at the service were Julia Gillard , Prime Minister of Australia ; Professor Marie Bashir , the Governor of New South Wales ; Moffatt Oxenbould , the former Artistic Director of Opera Australia ; and Sutherland's son, Adam Bonynge. The service was broadcast live by both ABC1 television and ABC Classic FM (radio) and streamed globally by ABC News 24 . Further memorial services were held in Westminster Abbey on 15 February 2011, at Westminster Abbey and in New York City on 24 May 2011, which was hosted by Marilyn Horne with an appearance by Richard Bonynge. In attendance were Sherrill Milnes , Norman Ayrton , Regina Resnick , and Spiro Malas .

Voice

Vocal timbre

Described as "fresh," "silvery" and "bell-like" until 1963,, Opera Britannia (24 October 2010) Joan Sutherland's voice, later became "golden" and "warm", music critic John Yohalem writes it was like "molten honey caressing the line." In his book "Voices, Singers and Critics", John Steane writes that "if the tonal spectrum ranges from bright to dark, Sutherland's place would be near the centre, which is no doubt another reason for her wide appeal." According to John Yohalem, "Her lower register was a cello register, Stradivarius -hued." Her voice was full and rounded even in her highest notes, http://www.classiquenews.com/ecouter/lire_article.aspx? article=478& identifiant=N2S56TZLZ3600HWN00W1Z19PU which was brilliant, but sometimes "slightly acid." http://next.liberation.fr/culture/01012295905-joan-sutherland-une-diva-s-en-va

In 1971, Time writes an article comparing Sutherland and Beverly Sills ,

"Originally bright and youthful-sounding, her voice darkened as she transformed herself into a coloratura. There is a suggestion of Callas' famous middle register in Sutherland's vocal center—a tone that sounds as if the singer were singing into the neck of a resonant bottle. Today the Sutherland voice towers like a natural wonder, unique as Niagara or Mount Everest. Sills' voice is made of more ordinary stuff; what she shares with Callas is an abandon in hurling herself into fiery emotional music and a willingness to sacrifice vocal beauty for dramatic effect. Sutherland deals in vocal velvet, Sills in emotional dynamite. Sutherland's voice is much larger, but its plush monochrome robs it of carrying power in dramatic moments. Sills' multicolored voice, though smaller, projects better and has a cutting edge that can slice through the largest orchestra and chorus. Sometimes, indeed, it verges on shrillness. ... In slow, legato music, Sills has a superior sense of rhythm and clean attack to keep things moving; Sutherland's more flaccid beat and her style of gliding from note to note often turn song into somnolence. Sills' diction in English, French and Italian is superb; Sutherland's vocal placement produces mushy diction in any language, but makes possible an even more seamless beauty of tone than is available to Sills."

Describing Sutherland's voice, John Yohalem writes:

On my personal color scale, which runs from a voluptuous red (Tebaldi) or blood-orange (Leontyne Price) or purple (Caballé) or red-purple (Troyanos) to white-hot (Rysanek) or runny yellow-green (Sills), Sutherland is among the “blue” sopranos – which has nothing to do with “blues” in the pop sense of the term. (Ella Fitzgerald had a blue voice, but Billie Holiday had a blues voice, which is very different.) Diana Damrau is blue. Mirella Freni is blue-ish. Karita Mattila is ice blue. Regine Crespin was deep blue shading to violet. Sutherland was true blue (like the Garter ribbon). There is a coolness here that can take on the passion in the music but does not inject passion where the music lacks it, could possibly use it.

Vocal category, size and range

Although she is generally described as a Coloratura soprano|dramatic coloratura soprano , "categorizing Sutherland's voice has always been extremely difficult, both the size and the sound present definitional problems Aside from singing some roles popular amongst coloratura sopranos, Sutherland’s voice could not be more different."

In a 1961 profile in The New York Times Magazine , Sutherland said she initially had "a big rather wild voice" that was not heavy enough for Wagner, although she did not realize this until she heard "Wagner sung as it should be." Anthony Tommasini|Tommasini, Anthony . . The New York Times . 11 October 2010. Retrieved 19 February 2011.

Regarding the size of Sutherland's voice, Opera Britannia praise "a voice of truly heroic dimensions singing bel canto. It is doubtful if any soprano in this repertoire has fielded quite so much power and tone as Dame Joan, and this includes Callas and Tetrazzini. The contrast with other sopranos who sing the same roles is appropriately enough stupendous, with rival prima donnas producing small pin points of sound as compared to Sutherland's seemingly endless cascades of full tone." In 1972, music critic Winthrop Sargeant describes her voice "as large as that of a top-ranking Wagnerian soprano " in the The New Yorker . French soprano Natalie Dessay states, "She had a huge , huge voice and she was able to lighten suddenly and to take this quick coloratura and she had also the top high notes like a coloratura soprano but with a big, huge voice, which is very rare.". Retrieved 25 April 2011.

Sutherland's vocal range extended from G below the staff ( Scientific pitch notation|G₃ ) to high F (F₆), or high F-sharp (F₆), although she never sang this last note in a public performance.. Retrieved 19 February 2011.

Honours and awards

During her career and after, Sutherland received many honours and awards. In 1961, she was made a Commander of the Order of the British Empire (CBE). That year she was named the Australian of the Year .

In the Queen's Birthday Honours of 9& nbsp;June 1975, she was in the first group of people to be named Companions of the Order of Australia (AC) (the order had been created only in February 1975). She was elevated within the Order of the British Empire from Commander to Dame Commander (DBE) in the New Year's Honours of 1979.

On 29 November 1991, Elizabeth II|the Queen bestowed on Dame Joan the Order of Merit (OM). In January 2004 she received the Australia Post Australian Legends Award which honours Australians who have contributed to the Australian identity and culture. Two stamps featuring Joan Sutherland were issued on Australia Day 2004 to mark the award. Later in 2004, she received a Kennedy Center Honors|Kennedy Center Honor for her outstanding achievement throughout her career.

Sutherland House and the Dame Joan Sutherland Centre, both at St Catherine's School, Waverley , and the Joan Sutherland Performing Arts Centre (JSPAC), Penrith, New South Wales|Penrith , are all named in her honour., The Joan Sutherland Performing Arts Centre (12& nbsp;October 2010)

John Paul College (Brisbane)|John Paul College , a leading private school in Queensland, Australia, dedicated its newly established facility the Dame Joan Sutherland Music Centre in 1991. Sutherland visited the centre for its opening and again in 1996.

In 2012, Sutherland was voted into Gramophone Magazine 's first Hall of Fame.

Roles

Sutherland performed live the following complete roles.This list is taken from the complete list of Sutherland's performances up to and including 18& nbsp;December 1986 on pp.& nbsp;204–241 of Norma Major's book Joan Sutherland , published 1987

Remarks
Hs>1947-06-00Jun 1947
Hs>1947-08-00Aug 1947
Hs>1950-07-1515 Jul 1950
Hs>1951-07-099 Jul 1951
Hs>1952-07-1616 Jul 1952
Hs>1952-10-2828 Oct 1952
Hs>1952-11-033 Nov 1952
Hs>1952-11-088 Nov 1952
Hs>1952-12-2929 Dec 1952
Hs>1953-02-2424 Feb 1953
Hs>1953-05-1313 May 1953
Hs>1953-08-1111 Aug 1953
Hs>1953-10-1919 Oct 1953
Hs>1953-11-022 Nov 1953
Hs>1954-02-044 Feb 1954
Hs>1954-03-2323 Mar 1954
Hs>1954-04-3030 Apr 1954
Hs>1954-05-2727 May 1954
Hs>1954-11-1717 Nov 1954
Hs>1955-01-2727 Jan 1955
Hs>1955-02-2828 Feb 1955
Hs>1955-06-1919 Jun 1955
Hs>1955-09-3030 Sep 1955
Hs>1955-10-3030 Oct 1955
Hs>1956-03-1111 Mar 1956
Hs>1956-11-1010 Nov 1956
Hs>1957-01-2828 Jan 1957
Hs>1957-03-1919 Mar 1957
Hs>1957-06-088 Jun 1957
Hs>1957-07-055 Jul 1957
Hs>1957-08-1616 Aug 1957
Hs>1957-09-088 Sep 1957
Hs>1957-12-2121 Dec 1957
Hs>1958-01-1616 Jan 1958
Hs>1958-05-2424 May 1958
Hs>1958-07-2626 Jul 1958
Hs>1959-02-1717 Feb 1959
Hs>1959-06-2424 Jun 1959
Hs>1960-01-088 Jan 1960
Hs>1960-05-2424 May 1960
Hs>1960-10-1919 Oct 1960
Hs>1961-02-2121 Feb 1961
Hs>1962-01-044 Jan 1962
Hs>1962-05-2828 May 1962
Hs>1962-12-1717 Dec 1962
Hs>1963-06-2020 Jun 1963
Hs>1963-10-1717 Oct 1963
Hs>1965-03-099 Mar 1965
Hs>1966-06-022 Jun 1966
Hs>1967-04-1010 Apr 1967
Hs>1967-05-2121 May 1967
Hs>1971-11-1212 Nov 1971
Hs>1972-10-2626 Oct 1972
Hs>1974-10-2323 Oct 1974
Hs>1975-09-1212 Sep 1975
Hs>1976-04-2222 Apr 1976
Hs>1977-06-1616 Jul 1977
Hs>1977-09-2323 Sep 1977
Hs>1979-07-044 Jul 1979
Hs>1980-07-022 Jul 1980
Hs>1983-05-2222 May 1983
Hs>1984-06-2222 Jun 1984
Hs>1985-10-044 Oct 1985

Recordings

Recordings include:
; Vincenzo Bellini

Beatrice di Tenda —Joan Sutherland (Beatrice), Luciano Pavarotti (Orombello), Cornelius Opthof (Filippo), Josephine Veasey (Agnese), Joseph Ward (Anichino/Rizzardo), Ambrosian Opera Chorus, London Symphony Orchestra, Richard Bonynge —Decca

I puritani —Joan Sutherland (Elvira), Pierre Duval (Arturo), Renato Capecchi (Riccardo), Ezio Flagello (Giorgio), Giovanni Fioiani (Gualtiero), Margreta Elkins (Enrichetta), Piero de Palma (Bruno), Coro e Orchestra del Maggio Musicale Fiorentino, Richard Bonynge (conductor) –recorded 1963– Decca 448 969-2 / Decca 467 789-2 (part of a 10-CD set) / London POCL 3965-7

I puritani —Joan Sutherland (Elvira), Luciano Pavarotti (Arturo), Piero Cappuccilli (Riccardo), Nicolai Ghiaurov (Giorgio), Giancarlo Luccardi (Gualtiero), Anita Caminada (Enrichetta), Renato Cazzaniga (Bruno), Chorus of the Royal Opera, Covent Garden, London Symphony Orchestra—Richard Bonynge, Recorded 1973, Decca

La sonnambula —Joan Sutherland (Amina), Nicola Monti (Elvino), Fernando Corena (Rodolfo), Sylvia Stahlman (Lisa), Margreta Elkins (Teresa), Angelo Mercuriali (Notary), Giovanni Fioiani (Alessio), Coro e Orchestra del Maggio Musicale Fiorentino, Richard Bonynge recorded 1962— Decca Records|Decca 00289 448 9662 6 / 000320702 / 455 823-2—

La sonnambula —Joan Sutherland (Amina), Luciano Pavarotti (Elvino), Nicolai Ghiaurov (Rodolfo), Isobel Buchanan (Lisa), Della Jones (Teresa), Piero De Palma (Notaro), John Tomlinson (Alessio), National Philharmonic Orchestra, London Opera Chorus, Richard Bonynge, recorded 1980— Decca Records|Decca 2LH417-424

Norma (opera)|Norma —Joan Sutherland (Norma), Marilyn Horne (Adalgisa), John Alexander (tenor)|John Alexander (Pollione), Richard Cross (bass-baritone)|Richard Cross (Oroveso), Yvonne Minton (Clotilde), Joseph Ward (Flavio), London Symphony Orchestra and Chorus, Richard Bonynge, Recorded 1964—Decca

Norma —Joan Sutherland (Norma), Margreta Elkins (Adalgisa), Ronald Stevens (Pollione), Clifford Grant (Oroveso), Etela Piha (Clotilde), Trevor Brown (Flavio), Opera Australia Chorus, Elizabethan Sydney Orchestra, Richard Bonynge, recorded 1978—DVD Arthaus Musik 100 180

Norma —Joan Sutherland (Norma), Montserrat Caballé (Adalgisa), Luciano Pavarotti (Pollione), Samuel Ramey (Oroveso), Diana Montague (Clotilde), Kim Begley (Flavio), Chorus and Orchestra of the Welsh National Opera, Richard Bonynge, Recorded 1984—Decca

; Georges Bizet

Carmen — Regina Resnik (Carmen), Mario Del Monaco (Don Jose), Joan Sutherland (Micaëla), Tom Krause (Escamillo), Georgette Spanellys (Frasquita), Yvonne Minton (Mercedes), Robert Geay (Zuniga), Jean Prudent (Le Dancaire), Alfred Hallet (Le Remendado), Claude Cales (Morales)

; Giovanni Battista Bononcini

Griselda (Giovanni Bononcini)|Griselda —Joan Sutherland (Griselda), Lauris Elms (Ernesto), Monica Sinclair (Gualtiero), Margreta Elkins (Almirena), Spiro Malas (Rambaldo), Ambrosian Opera Chorus, London Philharmonic Orchestra , Richard Bonynge, recorded 1967. Decca 448 977-2 (coupled with Montezuma )

; Léo Delibes

Lakmé —Joan Sutherland (Lakmé), Gabriel Bacquier (Nilakantha), Jane Berbié (Malika), Émile Belcourt (Hadji), Alain Vanzo (Gérald), Monte Carlo Opera Chorus, Orchestre National de l'Opéra de Monte-Carlo, Richard Bonynge, Recorded 1968, Decca Records .

; Gaetano Donizetti

Emilia di Liverpool (excerpts) / Lucia di Lammermoor (excerpts)—Joan Sutherland (Lucia), Margreta Elkins (Alisa), Joao Gibin (Edgardo), Tullio Serafin (conductor). Recorded 26& nbsp;February 1959—Myto Records MCD 91545 ( Probably these are excerpts from the same performance as the Melodram recording.)

Lucia di Lammermoor —Joan Sutherland (Lucia), Renato Cioni (Edgardo), Robert Merrill (Enrico), Cesare Siepi (Raimondo), Chorus & Orchestra of the Accademia di Santa Cecilia, John Pritchard (conductor)|John Pritchard (conductor), Decca, 1961.

Lucia di Lammermoor —Joan Sutherland (Lucia), Luciano Pavarotti (Edgardo), Sherrill Milnes (Enrico), Nicolai Ghiaurov (Raimondo), Chorus & Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge, Decca, 1971.

Lucia di Lammermoor —Joan Sutherland (Lucia), João Gibin (Edgardo), John Shaw (Enrico), Joseph Rouleau (Raimondo), Kenneth MacDonald (Arturo), Margreta Elkins (Alisa), Robert Bowman (Normanno), Chorus & Orchestra of the Royal Opera House, Covent Garden, Tullio Serafin , recorded 1959—Golden Melodram GM 50024 or Giuseppe di Stefano GDS 21017 or Bella Voce BLV 107 218 (highlights). 2006 release: Royal Opera House Heritage Series ROHS 002.

Lucia di Lammermoor —Joan Sutherland (Lucia), André Turp (Edgardo), John Shaw (Enrico), Joseph Rouleau (Raimondo), Kenneth MacDonald (Arturo), Margreta Elkins (Alisa), Edgar Evans (Normanno), Chorus & Orchestra of the Royal Opera House, Covent Garden, John Pritchard (conductor)|John Pritchard , recorded 1961—Celestial Audio CA 345

Lucia di Lammermoor —Joan Sutherland (Lucia), Richard Tucker (Edgardo), Frank Guarrera (Enrico), Nicola Moscona (Raimondo), Robert Nagy (Normanno), Thelma Votipka (Alisa), Charles Anthony (Arturo), Metropolitan Opera House, Conductor: Silvio Varviso. Recorded 9& nbsp;December 1961 for radio broadcasting.

La fille du régiment —Joan Sutherland (Marie), Luciano Pavarotti (Tonio), Monica Sinclair (La Marquise de Berkenfield), Jules Bruyère (Hortensius), Spiro Malas (Sulpice), Eric Garrett (Le Caporal), Edith Coates (La Duchesse de Crakentorp), Orchestra & Chorus of the Royal Opera House, Covent Garden, Richard Bonynge. Recorded: Kingsway Hall, London, 17–28& nbsp;July 1967. Original LP release: SET 372-3 (two LPs), CD release: 414 520-2 DH2 (two CDs).

'' L'elisir d'amore —Joan Sutherland (Adina), Luciano Pavarotti (Nemorino), Dominic Cossa (Belcore), Spiro Malas (Dulcamara), Maria Casula (Giannetta), Ambrosian Opera Chorus, English Chamber Orchestra, Richard Bonynge. Recorded: Kingsway Hall, London, 12–23& nbsp;January and 1–10& nbsp;July 1970. Original LP release: SET 503-5 (three LPs), CD release: 414 461-2 DH2 (two CDs), CD re-release: 475 7514 DOR2 (two CDs).

Lucrezia Borgia (opera)|Lucrezia Borgia —Joan Sutherland (Lucrezia Borgia), Ronald Stevens (Gennaro), Margreta Elkins (Maffio Orsini), Richard Allman (Don Alfonso), Robin Donald (Jacopo Liveretto), Lyndon Terracini (Don Apostolo Gazella), Gregory Yurisich (Ascanio Petrucci), Lamberto Furlan (Oloferno Vitellozzo), Pieter Van der Stolk (Gubetta), Graeme Ewer (Rustighello), John Germain (Astolfo), Neville Grave (Un servo), Eddie Wilden (Un coppiere), Jennifer Bermingham (Principessa Negroni), Australian Opera Chorus, Sydney Elizabethan Orchestra, Richard Bonynge, recorded 1977. VHS Video Cassette—Castle Video CV2845 (PAL); Polygram-Vidéo 070 031-3 (SECAM) Polygram 079 261-3 (PAL)

Lucrezia Borgia —Joan Sutherland (Lucrezia), Giacomo Aragall (Gennaro), Marilyn Horne (Orsini), Ingvar Wixell (Alfonso), London Opera Chorus, National Philarmonic Orchestra, Richard Bonynge (conductor), Decca, 1977.

Maria Stuarda —Joan Sutherland (Maria), Huguette Tourangeau (Elisabeta), Luciano Pavarotti (Leicester), Roger Soyer (Talbot), Margreta Elkins (Anna), James Morris (Cecil), Coro del Teatro Comunale di Bologna, Orchestra del Teatro Comunale di Bologna, Richard Bonynge, recorded 1975— Decca Records|Decca 00289 425 4102 / Lyrica LRC 1040/1041—

; Charles Gounod

Faust (opera)|Faust —Joan Sutherland (Marguerite), Franco Corelli (Faust), Nicolai Ghiaurov (Méphistophélès), Robert Massard (Valentin), Margreta Elkins (Siébel), Monica Sinclair (Marthe), Raymond Myers (Wagner), Ambrosian Opera Chorus and Highgate School Choir, London Symphony Orchestra , Richard Bonynge, Decca Records|Decca 0289 4705632 4 (2002 release) / 421 240-2 (1991 release) / 467 059-2 / London POCL 3962-4

; George Frideric Handel

Alcina —Joan Sutherland (Alcina), Margreta Elkins (Ruggiero), Lauris Elms (Bradamante), Richard Greager (Oronte), Narelle Davidson (Morgana), Ann-Maree McDonald (Oberto), John Wegner (Melisso), Chorus and Orchestra of Australian Opera, Richard Bonynge, recorded 1983. Celestial Audio CA 112

Alcina coupled with Giulio Cesare|Giulio Cesare in Egitto (highlights)— Margreta Elkins (Giulio Cesare), Joan Sutherland (Cleopatra), Marilyn Horne (Cornelia), Monica Sinclair (Tolomeo), Richard Conrad (Sesto), New Symphonic Orchestra of London, Richard Bonynge— Decca Records|Decca 00289 433 7232 / 467063-2 / 467 067-2—

Athalia (Handel)|Athalia —Joan Sutherland, Emma Kirkby, Aled Jones, James Bowman, Anthony Rolfe Johnson, David Thomas, The Academy of Ancient Music , Christopher Hogwood (Conductor)

Messiah (Handel)|Messiah —Joan Sutherland, Grace Bumbry, London Symphony Orchestra, Sir Adrian Boult (Conductor)—Decca 433 003-2

Rodelinda (opera)|Rodelinda —Alfred Hallett (Grimoaldo), Raimund Herincx (Garibaldo), Joan Sutherland (Rodelinda), Janet Baker|Dame Janet Baker (Eduige), Margreta Elkins (Bertarido), Patricia Kern (Unolfo), Chandos Singers, Philomusica Antiqua Orchestra, Charles Farncombe. An English language version, recorded live on June& nbsp;24, 1959—Opera D'oro OPD 1189 (two CDs) or Memories HR 4577–4578 or Living Stage LS 403 35147 (highlights).

Rodelinda —Joan Sutherland (Rodelinda), Huguette Tourangeau (Bertarido), Eric Tappy (Grimoaldo), Margreta Elkins (Eduige), Cora Canne-Meijer (Unolfo), Pieter Van Den Berg (Garibaldo), Netherlands Chamber Orchestra, Richard Bonynge. Recorded 30& nbsp;June 1973—Bella Voce BLV 10 7206.

; Wolfgang Amadeus Mozart

Idomeneo —Sergei Baigildin (Idomeneo), Margreta Elkins (Idamante), Henri Wilden (Arbace), Leona Mitchell (Ilia), Joan Sutherland (Elettra), Australian Opera Chorus, Sydney Elizabethan Orchestra, Richard Bonynge, recorded 1979. Gala GLH 826 (highlights) and Celestial Audio CA 060 (highlights)

Don Giovanni — Gottlob Frick (Commendatore), Luigi Alva (Don Ottavio), Graziella Sciutti (Zerlina), Joan Sutherland (Donna Anna), Piero Cappuccilli (Masetto), Elisabeth Schwarzkopf (Donna Elvira), Eberhard Wächter (baritone)|Eberhard Wächter (Don Giovanni), Heinrich Schmidt, Giuseppe Taddei (Leporello), London Philharmonia Orchestra, Carlo Maria Giulini . Recorded 1959— EMI Classics|EMI 0724356787353

Don Giovanni —Gabriel Bacquier (Don Giovanni), Pilar Lorengar (Donna Elvira), Marilyn Horne (Zerlina), Joan Sutherland (Donna Anna), English Chamber Orchestra, Richard Bonynge. Decca 448 973-2

; Giacomo Meyerbeer

Les Huguenots —Joan Sutherland (Marguerite), Franco Corelli (Raoul), Giulietta Simionato (Valentine), Nicolai Ghiaurov (Marcel), Fiorenza Cossotto (Urbain), Gianandrea Gavazzeni , Orchestra e Coro del La Scala|Teatro Alla Scala . Live: June& nbsp;7, 1962. Opera D'Oro. Sung in Italian.

Les Huguenots —Dominic Cossa (Nevers), Gabriel Bacquier (Saint-Bris), Nicola Ghiuselev (Marcel), John Wakefield (Tavannes), Joseph Ward (Cossé), John Noble (Thoré), Glynne Thomas (Retz), John Gibbs (Meru), Clifford Grant (Maurevert), Janet Coster (Léonard), Dame Kiri Te Kanawa (1st Maid of Honour), Josephte Clement (2nd Maid of Honour), Arleen Auger (1st Gypsy Girl), Maureen Lehane (2nd Gypsy Girl), Joan Sutherland (Marguerite de Valois), Martina Arroyo (Valentine), Huguette Tourangeau (Urbain), Anastasios Vrenios (Raoul de Nangis), Alan Opie (2nd Monk), NPO, Bonynge. Decca 430 549-2, recorded in 1969.

; Jacques Offenbach

'' The Tales of Hoffmann|Les contes d'Hoffmann ''—Joan Sutherland, Plácido Domingo , Gabriel Bacquier ,, L'Orchestre de la Suisse Romande, Orchestre du Radio de la Suisse Romande, Pro Arte de Lausanne, Andre Charlet, Richard Bonynge, studio recording made at Victoria Hall, Geneva, first published in 1976.

; Giacomo Puccini

Suor Angelica —Joan Sutherland (Angelica), Christa Ludwig (La Zia Principessa), National Phiharmonic Orchestra, Richard Bonynge. Decca 475 6531 (coupled with Leoni's "L'oracolo")

Turandot —Joan Sutherland (Turandot), Luciano Pavarotti (Calaf), Montserrat Caballé (Liu), Nicolai Ghiaurov (Timur), Peter Pears (Emperor), London Phiharmonic Orchestra, Zubin Mehta . Decca 414 274-2, recorded in 1972.

; Gioachino Rossini

Semiramide —Joan Sutherland (Semiramide), John Serge (Idreno), Joseph Rouleau (Assur), Spiro Malas (Oroe), Patricia Clark (Azema), Leslie Fyson (Mitrane), Michael Langdon (Spectre of Nino), Marilyn Horne (Arsace), London Symphony Orchestra, Richard Bonynge. Decca 425 481-2, recorded in 1966.

; Ambroise Thomas

Hamlet (opera)|Hamlet —Joan Sutherland, Gösta Winbergh , James Morris, Sheril Milnes, Orchestra and Chorus of the Welsh National Opera. Decca, 433 857-2.

; Giuseppe Verdi

Ernani — Luciano Pavarotti (Ernani), Joan Sutherland (Elvira), Leo Nucci (Carlo), Paata Burchuladze (Silva), Linda McLeod (Giovanna), Richard Morton (Riccardo), Alastair Miles (Jago), Orchestra and Chorus of Welsh National Opera, Richard Bonynge. Recorded: Walthamstow Assembly Hall , 10–21& nbsp;May 1987. Original CD release: 421 412-2 DHO2 (two CDs), CD re-release: 475 7008 DM2 (two CDs)

I masnadieri —Joan Sutherland, Samuel Ramey , Franco Bonisolli , Matteo Manuguerra , Simone Alaimo , Orchestra and Chorus of the Welsh Nation, Richard Bonynge. CD re-release in 1993: 433 854–2 (two CD, DDD).

Requiem (Verdi)|Requiem —Joan Sutherland, Marilyn Horne, Luciano Pavarotti, Martti Talvela, Vienna State Opera Chorus and Vienna Philharmonic ( Georg Solti|Sir Georg Solti ). Decca 411 944-2

Rigoletto — Cornell MacNeil , Joan Sutherland, Renato Cioni, Cesare Siepi, Chorus & Orchestra of the Accademia di Santa Cecilia, Nino Sanzogno , Decca, 1961.

Rigoletto — Sherrill Milnes , Joan Sutherland, Luciano Pavarotti , Martti Talvela , Ambrosian Opera Chorus, London Symphony Orchestra, Richard Bonynge, Decca, 1971.

La traviata —Joan Sutherland, Carlo Bergonzi , Robert Merrill, Chorus & Orchestra of Maggio Musicale Fiorentino, John Pritchard (conductor)|John Pritchard , Decca, 1962

La traviata —Joan Sutherland, Luciano Pavarotti, Matteo Manuguerra, National Philharmonic Orchestra, Richard Bonynge. London 430 491-2 recorded in 1979.

Il trovatore — Luciano Pavarotti (Manrico), Ingvar Wixell (Il Conte di Luna), Nicolai Ghiaurov (Ferrando), Joan Sutherland (Leonora), Marilyn Horne (Azucena), Graham Clark (Ruiz), Norma Burrowes (Ines), Peter Knapp (Un vecchio zingaro), Wynford Evans (Un messo), London Opera Chorus, National Philharmonic Orchestra, Richard Bonynge. Recorded: Kingsway Hall , London, 8, 10, 11, 13–18, 20& nbsp;September 1976; 26& nbsp;March 1977. Original LP release: D82D 3 (three LPs), CD release: 417 137-2 DH2* (two CDs), CD re-release: 460 735-2 DF2 (two CDs). (Ballet music not included in CD release) .

; Richard Wagner

Siegfried (opera)|Siegfried —Joan Sutherland as the Woodbird, Vienna Philharmonic (Sir Georg Solti) 1962 recording, London 414 110-2

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