Joan Lui [Import]

1. L'uomo Perfetto

2. Sex Without Love

3. Il Tempio

4. Mistero

5. Lunedi

6. Qualcosa Nascera

7. Splendida E Nuda

8. L'ora E Giunta

9. Prima Stella

Tracks:

Artaxerxes: The Soldier Tir'd
Samson: Let The Bright Seraphim
Norma: Sediziose voci ... Casta diva ... Ah! bello a me ritorna
I Puritani: Son vergin vezzosa (Polonaise)
Semiramide: Bel raggio lusinghier
I Puritani: O rendetemi la speme ... Qui la voce ... Vien, diletto
La Sonnambula: Care compagne ... Come per me sereno ... Sovra il sen
Faust: O Dieu! que de bijoux ... Ah! je ris de me voir

Tracks:

Romeo et Juliette: Ah! Je veux vivre
Otello: Mia madre aveva una povera ancella ... Piangea cantando
Die Entfuhrung Aus Dem Serail: Martern aller Arten
La Traviata: E' strano ... Ah, fors'e lui ... Sempre libera
Hamlet: A vos jeux, mes amis
Lakme: Ah! Ou va la jeune Indue
Les Huguenots: O beau pays de la Touraine!
Rigoletto: Gualtier Malde ... Caro nome

Amazon.com

In February 1959, an unknown (well, comparatively) Australian singer appeared at Covent Garden in Franco Zeffirelli's new production of Lucia di Lammermoor and took the world by storm. The following year, Joan Sutherland went into the studio to record this reissued tribute to prima donnas of previous generations, illustrating along the way the bel canto tradition of which she was to become a leading exponent. The 16 excerpts on this digitally remastered double CD include several roles she had already sung or was on the verge of singing, from Gilda in Rigoletto, which she had sung at Covent Garden before her Lucia debut, to Norma. What a performance! The voice is fresh, remarkable in its beauty, and she makes it all sound so effortless, tossing off Handel's "Let the bright Seraphim" or the Jewel aria from Gounod's Faust as if they're the easiest things in the world. This sparkling selection of glorious singing demonstrates just why Sutherland was to remain at the top of her profession for the next 30 years and join those to whom she here pays tribute as one of the great singers of all time. --Richard Fawkes

Customer Reviews:

La Stupenda is stupendous on this recording. Don't miss it!.......2007-01-05

I originally bought "The Art of the Prima Donna" in 1963, when I was just a kid, after seeing Dame Joan's debut in "Norma" with the Vancouver Opera in October of that year, and I was completely bowled over by both her live performances and her recording. She made me an opera fan for life. I've worn out and replaced that miraculous recording since then, and now have a third version on CD.

I completely disagree with those who believe that Sutherland lost the gleam on her voice after 1961. It's true that she suffered for several years with intermittently poor diction and rhythmic lapses, but these were due to terrible medical problems and the results of serious operations that were required to restore her health. Later she recovered most of her vocal lustre and all of her enthusiasm for performing, and her diction steadily improved. Her fabulous technique remained intact until her retirement in 1990.

No singers sound as fresh at 50 as they do at 30. Just listen to how Callas sounded in her later years, when her voice had almost completely deteriorated, and her career was far shorter than Sutherland's. The fact is that Sutherland sang in public for forty years, without amplification and often in barnlike theatres, and yet she still sounded formidable when she retired. Just listen to her performance of the final aria from "Lucrezia Borgia" on YouTube. I heard her debut in that role, again in Vancouver, shortly before that Covent Garden performance, and can attest that she was still in fabulous voice at the age of 53 and her coloratura remained spectacular.

What "The Art of the Prima Donna" gives us is the memory of an unparalleled vocal phenomenon in her glorious youth, before her physical disabilities briefly interrupted her career. No singer since has created a recording that exhibits anything like the range, vocal beauty and versatility that Sutherland displayed on this historic recording--not Callas, nor Caballe, nor Sills, nor any of their recent imitators. The title of this recording was not an exaggeration. This is singing that truly revived "The Age of Bel Canto," to quote the title of another Sutherland recording. "The Art of the Prima Donna" and Sutherland's earlier recordings, if you can get them, constitute an invaluable legacy from an artist who truly restored the golden age of singing.

Sutherland is Amazing.......2006-06-29

The first thing I ever heard by Sutherland was the Bel Raggio and I was floored. The voice sounded huge but I wondered if it was a technicians trick. I heard her on stage many times. Recordings do NO JUSTICE to the hugeness of the voice. Her diction was weak and her line sometimes droopy but the warm, huge, fexible voice was amazing. I don't think she or anyone else was the Voice or Singer of the century- no voice or singer could sing every role in the repetoire. Sutherland could no more sing Brunnhilde than Flagstad could sing Lucia.

In her repertoire, JS was one of the greatest voices with an incredible technique and style that ever made recordings. This is a great CD - but some others which were issued on vinyl but to my knowledge not on CD help round out the Sutherland greatnes, viz., Command Performance, The Age of Bel Canto and the French Opera Album. She did a 2 disc set called "A Festival of Baroque Operas- There is an aria called "Barbaro, Barbaro" which is mind boggling for the speed and clarity of its coloratura. Even in 1977 at 51 yrs old her video performance of Lucrezia Borgia is amazing - it is one of the greatest performances she ever did- exciting, tender and again with that huge voice and flexibility. The last scene is amazing.

Flawless-NO Unique-WITHOUT A DOUBT!!!!!

A Phenomenal Historic Recording Newly Minted.......2005-10-08

There is not much to add to the encomiums of previous reviews. This is one of the most astounding vocal recitals, if not THE most astounding, ever recorded. It caught one of history's greatest singers in her absolute prime, before the well-known defects - mushy diction, cloudy tone, sliding into notes, enervated rhythmic sense - began to compromise her singing. (Well, ok, the diction here is not crystal clear, but mostly quite acceptable and MUCH better than it later became.)

One wonders if any other soprano in history ever sang so fast, so high and so loud while always preserving such a full, golden, round sound. Sutherland was a genuine vocal phenomenon, and even those who don't generally care for her singing surely must find their jaws on the floor repeatedly during this recital. Every selection has something treasurable. My personal favorites: "A soldier tir'd," "Bel raggio lusinghier," "Qui la voce," "Come per me sereno," the "Hamlet" Mad Scene, the Bell Song, and "O beau pays."

The remastering is superb, enabling us to hear Sutherland's voice in all its pristine glory. The engineers have even managed to mitigate the rumble of Underground trains (the Picadilly Line?) that were a perpetual problem in Kingsway Hall, although I was glad to hear that the loud yell in the distance one hears during the "Croce e delizia" section of "Ah, fors'e lui" is still there; by now it is an old friend, and I would miss it.

Canary in the silver mine .......2005-09-20

This is a good compilation, and Sutherland was captured at the right time, before she went completely mushy dictionwise and lost her vocal sheen. The remastered sound is very good, too, spectacular for a recording from the 1960s.
However, after digesting this CD for several weeks, I still have a mixed response to all these Stupendous vocalistics.
The beginning is the main sour note- Arne is tired, with often imprecise, behind the beat coloratura, quite unlike the rest of Sutherland's output, and Let the Bright Seraphim is unbelievably leaden- the orchestra in particular sounds awful, and clunky. I can't comment on ornamentation here because I didn't detect any. This is a poor man's Seraphim, only impressive if you never heard any other versions, and Sutherland's voice is wasted in this piece.
This CD really picks up with Casta Diva, a dazzling showcase for Sutherland's voice. I was very impressed with Sutherland's performance as Norma in this recording- what happened to her in later years, when her "acting" was limited to, as she herself described it, wearing a "generally pained expression" and singing without much color or feeling?
Pieces from I Puritani are great, then we get excellent Rossini, wonderful Jewel Song, and then sparkling Juliet and very effective, beautiful and dramatically involved Desdemona.
And then- another fly in the ointment, Marten Aller Arten. This is one of my favourite arias and I can be very unforgiving when it comes to its performance, plus I like Konstanze to be really angry and wired, which is sort of opposite of what Joan does. This is a pretty, chirpy Marten, and she works hard on her German- way too hard actually, she seems to be slowing down trying to pronounce it, and still "Ich verlache" and "mich" turn into "Ich ve-ayee" and "meeeh", plus she does not sound as secure on top as I would expect, with a metallic high C. She picks up at the very end, putting some feeling into the sound, then topples again... This is a hit and miss one.
Fortunately the rest of the CD is filled with sparklers more in Sutherland's vein. Violetta is really great, with a fantastic high E, Ophelia is nice, Lakme is vocally one of the best I have ever heard, the dull Meyerbeer aria is made interesting and shimmery- that fabulous trill is finally put to work after many tracks of underuse- and then it all ends with a most charming Gilda.
It's not the greatest vocal performance ever put on vinyl/plastic/megabites, but overall, a good, historical set to add to your collection of opera recitals and soprano specials.

Bel Canto from an angelic voice.......2005-04-19

There are only a few soprano-recitals that are absolutely essential and must be in every opera collector's collection. The art of the primadonna, does it qualify? Oh yes indeed and here's why. Joan Sutherland had one of the most brilliant and beautiful voices in recorded history, combine that with an excellent technique, high notes that sparkle like stars and coloratura of angelic quality and you get what Joan Sutherland was in 1961. To describe only a few favourites:

2. Samson, oratorio, HWV 57 Let the bright Seraphim
Composed by George Frideric Handel
with Joan Sutherland

A sparkling and intense interpretation of this well known yet hardly ever magnificently performed piece. Lucid, beautiful and technically impeccable.

3. Norma, opera Sediziose voci... Casta diva... Ah! bello
Composed by Vincenzo Bellini
with Joan Sutherland

Surely her best studio-recording of this killer-aria. She is one of the few Normas who masters the recitativo without cracking or sounding strained, yet full of authority and intelligent drama. The Casta Diva itself is fluent, the make-or-break coloratura wonderfully executed. As for the cabaletta, not since young Callas in 1949 have I heard this piece sung so beautifully! Amazing high notes crown a cabaletta that broke more than one famous Norma before.

6. I Puritani, opera O rendetemi la speme... Qui la voce... Vien, diletto
Composed by Vincenzo Bellini

A Bellinian madscene at its finest. Once again only Callas in 1949 can be compared to this wonder of a recording. Callas too found darker colours and more intensity. (Dolore e passione as described in the score) Sutherland may lack these but she sings it with her own sense for drama which is uniquely sublime.

10. Otello, opera Mia madre aveva una povera ancella... Piangea cantando
Composed by Giuseppe Verdi
with Joan Sutherland

An interesting and excellent choice. There are pictures of Joan Sutherland as Desdemona and what a pity that no complete recording of her performances survived. I find her Desdemona to be far more convincing than Tebaldi because she sounds more fragile and elegant, plus she has that silvery tone of innocence that I don't hear in Tebaldi's golden, sensual voice. Excellent in the floating lines, beautiful and tender in the cantabile.

16. Rigoletto, opera Gualtier Maldè... Caro nome
Composed by Giuseppe Verdi
with Joan Sutherland

This can be compared to Maria Callas' live-performance of this piece and, being in excellent sound, might be preferred. (Callas was excellent in the studio as well, yet in 1955 she was less daring and defying) Stunningly intense in the cantabile and brilliant in the coloratura-passages. Far better than her famous performance with Pavarotti where she had lost the youthful, silvery sound that made her earlier Gilda so loveable.

I do not adore her as much in French opera and La Traviata or anything German but that doesn't mean that her singing was anything but amazing, just a personal preference. In short: Buy it and discover why Joan Sutherland is indeed La Stupenda!

Average customer rating:

Valuable compendium
Rareties available on CD at last!
Heavenly
WHO ELSE CAN SING LIKE THIS TODAY?

The Art of Joan Sutherland

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Joan Sutherland: BBC-Recitals 1958, 1960, 1961
The Art of the Prima Donna
Serate Musicali
The Voice of the Century
La Stupenda ~ The Supreme Voice of Joan Sutherland

ASIN: B000654OUQ
Release Date: 2005-03-15

Customer Reviews:

Valuable compendium.......2007-01-24

This set is extremely valuable, not only as an overview of Dame Joans career but because it contains three complete LP sets that have been very hard to find. The sets are the 2 LP French opera (operetta) set, the Mozart album and the Wagner album. Although some of these do not show her to her best advantage (the Wagner set) they all have some very beautiful things and the French items are superb. The annotations and photos are interesting as well and there are some piano songs with Bonynge that are released here for the first time along with a scene from a live Covent Garden Norma.

Rareties available on CD at last!.......2006-03-29

While Joan Sutherland has recorded a number of impressive aria collections throughout the many years of her recording career, they tend to get lost in the shuffle of the countless reissues Decca/London has endlessly repackaged. While some of the original collections have appeared intact on CD--"The Art of the Prima Donna," "The Age of Bel Canto," "Love Live Forever" (her operetta collection that was originally titled "The Golden Age of Operetta"), to name a few--others are currently represented in the CD catalogue by only a few selections on discs that also include excerpts from complete opera recordings or duplicates of selections from other original collections. As a result, it has been impossible to assemble a CD collection of her recordings without a LOT of duplication, and some of the most interesting collections are still unavailable (e.g. "Command Performance" and "Serate Musicale").

While this newest set does include a lot of bits of this and that, ranging from her very first LPs to excerpts from complete recordings most Sutherland fans already have and a few "live" performances, what is perhaps most significant about it is that it features the complete contents of the "Sutherland Sings Wagner" LP--a real repertoire departure for her--and the double-LP album called "French Opera Gala" (in the U.S.--the British title was "Romantic French Arias"), neither of which, to the best of my knowledge, has been available on CD before. "Opera News" magazine once ran an article in which they asked various stars to name the one album that they felt best represented their artistry for future generations, and Dame Joan selected the "French Opera Gala," so for Sutherland fans, this is a long-awaited treat.

I'm not going to waste space saying how miraculous I consider Dame Joan's artistry. If you are familiar with her work already, you know whether you adore her or not; and if you aren't, this massive set is probably not the best place to start (that would be "The Art of the Prima Donna" album that introduced her to most listeners decades ago)--especially since this newest set doesn't contain the lyrics, a must for newcomers. Let's hope Decca/London gets around to releasing the rest of her recordings intact instead of endlessly scrambling and repackaging the same selections over and over.

Heavenly.......2006-01-31

I first heard of Dame Sutherland while on the internet while listening to a internet radio station. I was instantly a fan, her control, technique, and tone is perfectly executed and rivals the equally fantastic Maria Callas. She has a powerful voice and presence that will evoke every emotion from her listeners. Highly recommended to all Opera Diva fans.

WHO ELSE CAN SING LIKE THIS TODAY?.......2005-04-10

This is Decca's second multi disc evaluation of this fantastic singer's long career and many recordings. True that a lot on the first set is duplicated here, but there are a few exceptions here and there that make it a worthy addition. Of particular interest are the very early items of Handel and Italian baroque arias, some forgotten song recordings and a live performance of the duet from Norma. It can't be said too many times - who can sing like this today? For sheer vocalism it's hard to find anyone on the same wavelength. This set will give very young opera goers an idea of what they missed.

Verdi - La Traviata / Sutherland · Pavarotti · Bonynge [highlights]

Average customer rating:

yucky mushy voice!
Great, but no even close to their primes
A good recording for the archives

Verdi - La Traviata / Sutherland · Pavarotti · Bonynge [highlights]
Giuseppe Verdi , Richard Bonynge , Joan Sutherland , Luciano Pavarotti , Marjon Lambriks , Matteo Manuguerra , Alexander Oliver , and Della Jones
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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Similar Items:

Puccini - La Bohème / Freni, Pavarotti, Harwood, Berlin Phil., Karajan [Highlights]
Puccini: Tosca (Highlights) / Freni, Pavarotti
Great Duets & Trios / Sutherland, Horne, Pavarotti
Verdi: Rigoletto (Highlights) / Sutherland, Pavarotti
Mozart: Le nozze di Figaro / Te Kanawa, Popp, Ramey, Solti [Highlights]

ASIN: B0000041OL
Release Date: 1990-10-25

Tracks:

La Traviata: Act 1: Prelude
La Traviata: Act 1: Libiamo, ne'lieti calici
La Traviata: Act 1: Un di felice
La Traviata: Act 1: E strano!... Ah, fors'e lui... Sempre Libera
La Traviata: Act 2: Scene 1 - Lunge da lei... O mio rimorso!
La Traviata: Act 2: Scene 1 - Pura siccome un angelo
La Traviata: Act 3: Teneste la promessa... Addio del passato
La Traviata: Act 3: Parigi, o cara
La Traviata: Act 3: Finale - Ah! Violetta!

Customer Reviews:

yucky mushy voice!.......2003-07-07

Sutherland in her prime was bearable, but Sutherland in vocal decline is absolutely hideous to hear! Her voice was way too mushy, diction terrible (as always anyway), and no vocal acting whatsoevever. I disagree with a previous reviewer-I don't hear any characterization in this portroyal. She sounds the same no matter what. The brindisi may as well be addio del passato. Pavarotti is not in fresh voice for this recording. Overall, a terrible recording.

Great, but no even close to their primes.......2003-07-05

Dame Joan and Pavarotti are so fantastic here that you'll never guess that they are already much past their terrific primes when this was recorded. Dame Joan being about 55.
If you think her voice is good here, you'll be dumb-founded by her "The Art of the Prima Donna" cd, which is the greatest display of coloratura singing in the history of opera. I am not exaggerating.
Yes, this is a great Traviata, better than anything out there except for Sutherland's first one. But the gorgeous Sutherland tone can be far better if you can believe it. This 1980 recording shows Sutherland with only 70% of her original phenomenal voice. The same goes for Pavarotti.
Buy this set because they are together. But if you want to hear them in their prime. Buy their "Daughter of the Regiment".

A good recording for the archives.......2002-05-04

A good recording for the archives and a lesson in how to keep the voice healthy and lond-lasting. Excellent performances all around. If you'd like to hear more in detail, read below:

I have nothing bad to say about Joan. Yes, the voice is... "older" but it's wise and trained. Every note has years of training, wisdom, and experience to it. "E strano! Estrano..." and "Teneste la promessa... Addio del passato" are those pieces that you just think to yourself, "Dame Joan owns this one." When she sings them, it's like these were written for the older voice and only that. She just takes such leadership and ownership. They have such passion -- especially the latter piece, when she laments over her imminent death, it sounds as if she's really going TOMORROW. The "Sempre Libera" is very interesting to listen to. I wouldn't put it on her "Greatest hits album," but to hear the technique that went in that preparation is amazing, I mean, for God sakes she's 55 years old and do you HEAR that! And kudos to the much improved acting!!

Pavarotti is really in the zone for this one. His "Parigi, o cara" is just beautiful -- such tenderness and REAL acting and emotions coming through.

Manuguerra is a real class act. I found him thoroughly convincing. Like he was actually a real concerned father.

Tracks:

Samson: Let The Bright Seraphim
La buona figliuola: Furia di donna
Norma: Casta diva
I Puritani: Son vergin vezzosa (Polonaise)
La Fille Du Regiment: Pour ce contrat fatal...Ah! salut a France
Lakme: Ah!...Ola jeune Indoue (Bell Song)
Rigoletto: Gualtier Mald.Caro nome
Faust: Dieu! que de bijoux!...Ah! je ris de me voir si belle (Jewel Song)
La Traviata: E' strano!...Ah, fors'ui...Sempre libera
Les Contes d'Hoffman: Les oiseaux dan la charmille (Doll Song)
Lucia di Lammermoor: Il dolce suono mi colpi di sua voce!...Ardon gl'incensi (Mad Scene)

Customer Reviews:

Classic coloratura singing by Dame Joan.......2007-01-21

Joan Sutherland was one of the wonders of coloratura technique in the 1950s and 1960s. Some say that the 1960s represent the peak of her accomplishments. The cuts on this CD represent that period, so this is Dame Joan at her best. Music ranges from Handel to Bellini to Delibes to Donizetti to Verdi, with Gounod, Piccinni, and Offenbach thrown in for good measure. She was not great on characterization (no Tebaldi, Callas, or Moffo here), but, oh, that voice! Some illustrative examples follow. . . .

She began as a dramatic soprano, so that there is a lot of punch behind her coloratura technique. It is amazing that she exhibits such agility, given that background. "Let the Bright Seraphim" from Handel spotlights that agility, as well as one of the best trills of the past 60 years. While some CDs that feature coloratura singing may end up with excessive ornamentation, ornamentation at some level is di rigueur. And a trill is a key part of the coloratura soprano's armamentarium. Also present on this cut is a command of high notes, precisely hit.

Bellini's opera, "I Puritani," includes a "polonaise," entitled "Son vergin vezzosa" that shows off Sutherland's gifts to good effect. Coloratura techniques, again, are evident. The repeat features increased ornamentation and a clean hit on the final high note. The "Bell Song" from Delibes' "Lakme" is included on this CD. Some stunning trills are featured; again, she hits the notes well, including the high ones. This ends with a nice trill and high notes well done.

Verdi's opera, "Rigoletto," features wonderful music, including ""Gaultier Malde. . .Caro nome," where an innocent is messed around with by a genuine cad. But the music is wondrous, one of Verdi's best tunes. Sutherland hits trill after trill. Well conceived and executed effects. From "La Traviata," also by Verdi, a nice rendering of "Sempre libera." Again, characterization is not her forte; for Violetta, go to others like Renata Scotto and Anna Moffo for that. Once more, trills that are glorious are manifest. An agile voice and well done high notes.

The "Mad Scene" from Donizetti's "Lucia di Lammermoor"? Here is one of the iconic recordings. This was one of Sutherland's genuine "greatest hits." Again, forget characterization and acting; that was never her strength. Listen to the voice and the singing. "Spargi d'amaro pianto," the culminating segment of the "Mad Scene," is absolutely stunning. Trills, runs, high notes cleanly hit, other ornamentation (e.g., appoggiaturas) are exemplary.

I have not listened to Sutherland's work in some time and I had begun to wonder if I had romanticized her skills as I was listening to more contemporary coloratura sopranos singing the same repertoire. However, listening to this CD reassures me that I am not simply some old-timer going into the past. While there is talent today (including the voices of Netrebko, Fleming, Dessay, and others), Dame Joan Sutherland is one of "the real deals" among coloratura sopranos.

Great Sutherland Recordings.......2006-08-02

For starters, I am not not a die-hard Sutherland fan,
for various reasons not to be discussed here. However,
it's impossible to deny her status as one of the
quintessentially impeccable soprano voices of
recorded history. Many of her recordings are
prototypes of how certain arias "should sound."
Above all, I love her clarion-like vocal presentation.
Her virtuoso trills and technical ability are
hall of fame-worthy.

This CD displays much of her famed vocal
ability. Although, a couple of the tracks
seemed personally out of place for me, several
other tracks are wonderful showpieces of her talent.

"Ou va la jeune hindoue" from Lakme is text book perfect. She lifts the roof about 10 meters on the final E; over a full orchestra! (Outstanding work.) "Il dolce suono" from Lucia di Lammermoor is incredible. Her control of pitch and dynamics are almost frightening. She displays power and vocal grace in equal parts. Her "Casta Diva" is well done, but I can't help but compare it to that of Maria Callas. Sutherland is the soprano
archetype in term of technique, however,
her emotional delivery is not always on the par
with other great sopranos. Nonetheless, the "Casta Diva"
track is still superb and pleasant to the ears.

This is an excellent collection of recordings. I believe that both new and veteran fans of Joan Sutherland will be pleased.

Highly recommendable.

Joan Sutherland in her Prime!! Amazing!!!.......2006-07-21

Joan Sutherland is truly the voice of the twentieth century. Up until hearing this album, I had only heard recordings of her from the 80's, and frankly, I wasnt impressed. I have since learned that she was is her prime in the 60's and early 70's.

Her sound during her vocal prime is so bright and amazing. Her high notes are truly umatched by any other singer, and she has such expresssion. Although her diction is somewhat lacking, she makes up for it in vocal splendor. WOW!

She goes from heavy, bright Verdian arias like Sempre Libera to a light, high aria like the Doll Song. She is truly an amazing vocalist with unparalled vocal versatiltiy.

He sound from the 80's was very covered and her high notes sometiems seemed almost strained. If not strained, they were very small and dainty. While she was in her prime, her high notes were big and bawdy, and thats how us opera folks like it!

If you are looking for a reasonable priced compilation of Ms. Sutherlands finest work, then look no more. This is the one for you. It has excellent recordings of Verdian Soprano arias, Coloratura arias, and lots of Bel Canto vocal fireworks. Her recording of the Bell Song from Lakme is alone worth the purchase. The whole thing is great.

La Stupenda!.......2006-06-04

I have to say that Dame Joan Sutherland has one of the most amazing voices ever with such a range. This collection is my first but not my last. In fact, I would use this cd when the upstairs neighbors would start getting loud and I assure you that it probably made them quieter down. Anyway, God Bless Dame Joan Sutherland who has accomplished so much more than anybody. No wonder, her nickname is La Stupenda.

Exquisite combination of lyricism and coloratura.......2004-02-03

Here Sutherland proves that she wasn't a "mere" lyric coloratura songbird but a full-voiced dramatic soprano d'agilita. Singing Violetta's aria and the Jewelsong she manages an exquisite balanche between glittering acuti and lyric ardour. This is by far one of the best recitals ever recorded and no opera-collection is complete without it!

Joan Sutherland ~ The Art of the Prima Donna

Average customer rating:

Like a walk in the clouds!
It reach the highest status, just how high? you be the judge
Sutherland's greatest achievment, need I say more
Since int's inception in 1960, this is the standard
Dazzling display of coloratura singing by La Stupenda

Joan Sutherland ~ The Art of the Prima Donna

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Sutherland, Joan | Divas | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
ASIN: B0000042EK
Release Date: 1997-07-15

Tracks:

Artaxerxes: The Soldier Tir'd
Samson: Let The Bright Seraphim
Norma: Sediziose voce ... Casta diva...Ah! bello a me ritorna
I Puritani: Son vergin vezzosa
Semiramide: Bel raggio lusinghier
I Puritani: O rendetemi la speme... Qui la voce sua soave... Vien, diletto
La Sonnambula: Care compagne... Come perme sereno... Sovra il sen
Faust: O Dieu! que de bijoux... Ah! je res

Tracks:

Romeo et Juliette: Je veux vivre
Otello: Mia madre aveva una povera ancella... Piangia cantanco
Die Entfuhrung Aus Dem Serail: Martern aller Arten
La Traviata: E'strano... Ah fors'e lui... Sempre libera
Hamlet: A vos jeux, mes amis
Lakme: Ah! Ou va la jeune Indoue
Les Huguenots: O beau pays de la Touraine!
Rigoletto: Gualtier Malde... Caro nome

Amazon.com

One customer calls this CD "simply the greatest recording of a coloratura soprano's art ever"--a kind of superlative and a level of enthusiasm that critics try to avoid. But looking through a century of recorded sound, not a single recording is a clearly better coloratura example. Joan Sutherland's voice is young, fresh, agile, superbly controlled, and rich in tone. To ask for more expressive power would be missing the point; that is not what this music is about. It is perfectly chosen to display the best qualities of Sutherland's voice at its peak. --Joe McLellan

Customer Reviews:

Like a walk in the clouds!.......2004-07-13

What can one say about one of the greatest soprano recitals ever. Despite all her later achievements, this early recital is Sutherland's most significant contribution to operatic discography.

This recital is full of her huge but always sweet high notes. This is after all, what made them so special. When I listen to these high notes it's as if a bird is taking me on a trip to the sky. Her coloratura abilities are jaw dropping to say the least. You have no idea what a trill or staccato means if you haven't heard Joan singing! Everything here is stunning but my favourites are her Bell Song, Care compagne and The soldier Tir'd.

I've never been Sutherland's greatest fan due to her mushy enunciation, which fortunately is restricted to the minimum here but this early recital never stays far from my cd player! Indeed the art of a primadonna, Sutherland's art!

It reach the highest status, just how high? you be the judge.......2003-07-30

The recital by one Australian diva recorded in 1960 by a young and unknown soprano that has taken the world by storm. She not only became the most celebrated coloratura soprano the world had ever known, she became the most loved.
16 arias...the test of every coloratura skills known to mankind. Does she past, or fall short? You be the judge. I say she sings the most incredible recital ever recorded in the history of the grammophone. A gigantic claim. A claim that is substantuated by her singing.

Sutherland's greatest achievment, need I say more.......2003-07-30

Sutherland's first and finest moments in her reign as one of opera's most beloved sopranos. I need not say more. Her name and reputation speaks for itself. She is La Stupenda.

Since int's inception in 1960, this is the standard.......2003-07-28

The best selling recital by a coloratura soprano ever released. That includes Callas. Now it's time to upgrade to this remaster of the most astonishing singing on record.
The old cd "Art of the Prima Donna" is of course, the last world for stupendous singing. But this is a remaster version of it. The flaws with the non remaster cd in nothing comparing to the sonic of this gem.
You will hear Sutherland as never heard before. IN full voice, an her dynamic range is finally capture on CD. Before when the soprano hits a D or E, the sound is not capture properly by Decca's engineer, her high notes are just too big and vibrant.. Here, you get to hear the real Sutherland, the engineers at decca allows you to hear La Stupenda as she really it. You hear the full Sutherland range, form low G to the F above high C. I have to recommend this. It is the last world in bel canto.

Dazzling display of coloratura singing by La Stupenda.......2003-07-27

I adore this recital done by La Stupenda in 1960. It is a true feat of Bravura for Dame Joan Sutherland, and I am thrilled to death to have it on cd. I already have this on cassette
and lp, but this is my first Cd with Sutherland because I'm a starving artist. But it is superb, far more
luminous than the lp or the cassette. The sound is so life-like! Finally, a medium that allows the
Sutherland voice to be heard as it should be. Every aria is a tour de force of the highest caliber.

The most remarkable thing is the huge top. It is both enormous and has a brilliant vibrato. Funny
thing that as Sutherland ages, the high notes got smaller and smaller. But not here, this is Sutherland
at her best. I think if Birgit Nilsson had an E flat, that's what it would sound like, Wagnerian in size.
Almost every aria has an high E flat or E. Besides the high notes is the most true to form of a trill that
exist. An actual trill, not a tremolo like other divas.

I believe that when Donizetti and Bellini wrote for Pasta, Grisi, and Malibran, this is the kind of
soprano he had in mind when he wrote these near impossible arias. A true diva from the golden age.
Of course, the difference between these divas of the past and Sutherland is the enormous size of
Sutherland's instrument. Plus the fact that all those divas of Bellini's time transpose these arias down
one full step or more.

Sutherland doesn't do that. Even though she has a right to do so because the tones today are now
almost a full tone higher than they were in the 17th century, so a high C then is only a B flat today.
So an E flat today is much higher than an E flat in Donizetti's time. So all of Sutherland's E flats are
actually high Fs! Imagine that.

If there is a single cd I can have on a desert island, this would be it. This is, without a doubt, the
most taxing program that any prima donna has attempted in a single recital, every arias is a tour de
force, stretching the limits of the human voice in all but Sutherland. In fact, this seems easy for her -
it's effortless. I challedge anyone to find a coloratura today, or anyday, who can match up to La
Stupenda.

Tracks:

La Traviata: Prelude
La Traviata: Brindisi: Libiamo ne'lieti calici
La Traviata: Un di felice
La Traviata: E strano!... Ah, fors' e lui
La Traviata: Follie!... Sempre libera
La Traviata: Lunge da lei... De'miei bollenti spiriti
La Traviata: Pure siccome un angelo
La Traviata: Dite alla giovine si bella e pura
La Traviata: Di Provenza il mar
La Traviata: Invitato a qui seguirmi
La Traviata: Di sprezzo degno se stesso rende
La Traviata: 'Teneste la promessa...' Addio del passato
La Traviata: Parigi, o cara
La Traviata: Ah! Violetta!

Average customer rating:

Stupenda indeed!
And interesting album
A great follow up to...
Sutherland rules, who's this Beverly Sills
Sutherland "Voice of the Century"

Joan Sutherland--Mad Scenes

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Rolando Villazon - Gounod · Massenet Arias
Russian Album

ASIN: B00004T2FR
Release Date: 2000-08-08

Tracks:

I Puritani: O rendetemi la speme
I Puritani: Vien, diletto, e in ciel la luna!
Dinorah: Bellah! ma chevre cherie!...Dors, petite
Dinorah: Dieu! comme cette nuit...Ombre legere (Shadow Song)
Hamlet: A vos jeux, mes amis, permettez-moi
Hamlet: Le voila! Je crois l'entendre
L'Etoile du Nord: C'est bien lui...La la la air cheri!
Lucia di Lammermoor: Eccola!...O giusto cielo!...Il dolce suono
Lucia di Lammermoor: Ohime! sorge il tremendo fantasma
Lucia di Lammermoor: S'avanza Enrico!
Lucia di Lammermoor: Spargi d'amaro pianto

Amazon.com

Joan Sutherland is spectacular in these operatic selections, almost all of which were recorded during her prime--between 1962 and 1971--when her voice was at its freshest, and mannerisms such as sloppy diction and droopy phrasing were at a minimum. The characters here depicted are tragically loony, permitting the composers to lavish upon them coloratura fantasies that make for exciting listening, but restrict the roles to the few singers who are capable of managing the swirls and trills of the high tessitura. Sutherland reveled in these parts; the more difficult, the better. It's impossible to select highlights in a disc that's brimming with them, but her signature role, Lucia di Lammermoor, with its flowing vocal line and ravishing soprano-flute duet, offers some of the most exciting singing you'll ever hear; the top notes never strained, always full and rounded. But, then, everything else on this indispensable disc is a delight. --Dan Davis

Customer Reviews:

Stupenda indeed!.......2006-12-30

Sutherland knocks the socks off the listener in each of these selections. This is a fantastic introduction if you really want to know why Sutherland was the reigning queen of colouratura in her day.
Superb sound and recordings range from early 70's to early 80's.

And interesting album.......2004-05-07

This is an interesting album. The Puritani is from 1973, Hamlet from 1983 (wow!), and the Lucia from 1971. This is like a showcase of the later Sutherland voice. It's different from the younger voice. It's a darker, wiser tone. For starters, let's take the Hamlet scene. Not quite as many fireworks as the 1960 one, but the vibrato isn't so fluttery and kinda out of control. It's a slower, more steady and studied tone. She wisely omits some of the high notes (I mean, she's 57 for heaven's sake!). I consider a lesson in how to sing healthily and proper in the later vocal years. It's really a lesson to all singers to just hear her. The Puritani is magical. Just beautiful eerily cool music. The ornaments in the second aria are really quite amazing. And the high Eb at the end of Vien, diletto is amazing. Just that trademark Eb like she does in Traviata. Perfection. This Lucia is actually my favorite compared to her 1959 and 1961 ones. Now, don't get me wrong, each of those is wonderful in their own fabulous ways. The 1959 is fresh and bright and exciting. The 1961 is a clear understandable and beautiful tone with all the great ornaments she was working on as she was developing the role. I find this one super cool because it's just cool to hear how this voice can still have handle the demanding Lucia lines. Cause you see, her voice was getting heavier with age and it's just kinda amazing to hear "Wow! She's still got the chops!"

A great follow up to..........2004-01-13

Callas' Mad Scenes Album, I love this CD. Joan sings the hell out of each piece even though the interpretations and characters suffer from it, I barely hear any madness... Anyway, I want to comment on several things written here:

1)What one music class (Which school is that) says doesn't mean a thing, I trust my own ears and known experts like Steane, Kesting and Porter.

2)The Sills-Fan isn't worth a thought, I too think he's an immature brat.

Sutherland rules, who's this Beverly Sills.......2003-07-14

Sorry for not being current, or I'm too young. But who is Beverly Sills? I thought with Sutherland retired, the reigning soprano is Renee Fleming.
Whoever she is. Her fans are getting annoying. I'll be sure that I don't take any of their recommendations.

Sutherland "Voice of the Century".......2003-07-13

In a music 111 class, I compared divas Sutherland, Sills, and Callas all singing the mad scene from Lucia. I didn't say who was who.
It was my final project. And I handed a survey to see who is the better bel canto singer.
Sutherland--1971 recording
Sills-------1969 recroding
Callas------1955 recording
Here is the results.
1)Sutherland....40 votes
2)Sills.........07 votes
3)Callas........00 votes
I got an A on the project. And the students were astonished by Sutherland's mad scene by a huge margin, as you can see. NO one voted for Callas.
Without question, Sutherland is the best coloratura, at least with the Lucia mad scene. But this set has all mad scenes. Some even more difficult than the Lucia. I invite you to hear this, and make up your mind
Dont let some immature kid who just know how to call people names and bash Sutherland influence you. Listen to Sutherland. You will be a believer.

Average customer rating:

Joan Lui
Adriano Celentano
Manufacturer: Sony Bmg
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005MJ1X
Release Date: 1997-09-29

Tracks:

Uomo Perfetto
Sex Without Love
Tempio
Mistero
Luned
Qualcosa Nascer
Splendida E Nuda
Ora Giunta
Prima Stella

Close Encounters with Great Singers: Joan Sutherland

Average customer rating:

Close Encounters with Great Singers: Joan Sutherland

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B00022LJ4W
Release Date: 2004-05-11

Average customer rating:

Joan Sutherland

Manufacturer: Gala
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B000028CRS

Tracks:

Zemira And Azor: 'Rose Softly Blooming'
'La Fiorala Fiorentina'
Emilia di Liverpool: Rondo Finale Emilia - 'Confusa e l'alma mia'; 'Non intende il mio contento'
Emilia di Liverpool: Rondo Finale Emilia - 'Confusa E L'alma Mia'; 'Non Intende Il Mio Contento'
Die Zauberflote: 'O Zittre Nicht, Mein Lieber Sohn!'
Die Zauberflote: 'Der Holle Rache Kocht In Meinem Herzen'
Lucia di Lammermoor: 'Ancor Non Giunse'; 'Regnava Nel Silenzio'; Quando Rapita In Estasi'
Alcina: 'Ah! Ruggiero Crudel, Tu Non Mi Anasti!'; 'Ombre Palide'
I Puritani: 'Son Vergin Vezzosa'
La Traviata: 'E Strano!...Ah, Fors'E Lui'; 'Sempre Libera'
Lucia di Lammermoor: (Mad-scene) 'Il Dolce Suono'; 'Ardon Gli Incensi'; 'Spargi D'amaro Pianto'
Lucia di Lammermoor: Encore: 'Spargi D'amore Pianto'

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