Joan Sutherland | |
|---|---|
 Sutherland in 1975 | |
| Born | Joan Alston Sutherland (1926-11-07)7 November 1926 Sydney,New South Wales, Australia |
| Died | 10 October 2010(2010-10-10) (aged 83) Les Avants,Vaud, Switzerland |
| Other names | La Stupenda[1] |
| Education | Royal College of Music |
| Occupation | Operaticsoprano |
| Spouse | |
| Children | 1 |
Dame Joan Alston Sutherland (7 November 1926 – 10 October 2010)[2] was an Australiandramatic coloratura soprano known for her contribution to the renaissance of thebel canto repertoire from the late 1950s to the 1980s.
She possessed a voice combining agility, accurate intonation, pinpointstaccatos,[3] atrill and a strong upper register, although music critics complained about her poor diction.[4][5]
Sutherland was the first Australian to win aGrammy Award, for the year 1961Best Classical Performance – Vocal Soloist (with or without orchestra) presentedin 1962.
She was known asLa Stupenda (Italian for 'The Stupendous One') and is widely regarded as one of the greatest sopranos of all time.
Joan Sutherland was born inSydney, Australia, toScottish parents and attendedSt Catherine's School in the suburb ofWaverley, New South Wales. As a child, she listened to and imitated her mother's singing exercises. Her mother, amezzo-soprano, had taken voice lessons but never considered singing as a career. 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 a production ofHenry Purcell'sDido and Aeneas, in 1947.
In 1949, as well as winning Australia's most important competition, the(Sydney) Sun Aria,[6] Joan Sutherland came third after thebaritone Ronal Jackson in radio3DB's £1,000Mobil Quest;[7] Joan Sutherland won theMobil Quest the next year (1950).[8]
In 1951, she made her stage debut inEugene Goossens'sJudith. She then went to London to further her studies at the Opera School of theRoyal College of Music withClive Carey. She was engaged by theRoyal Opera House, Covent Garden, as a utility soprano, and made her debut there on 28 October 1952, as the First Lady inThe Magic Flute, followed in November by a few performances as Clotilde inVincenzo Bellini's operaNorma, withMaria Callas as Norma.
Being an admirer ofKirsten Flagstad in her early career, she trained to be aWagnerian dramatic soprano. In December 1952, she sang her first leading role at the Royal Opera House, Amelia inUn ballo in maschera. Other roles included Agathe inDer Freischütz, the Countess inThe Marriage of Figaro, Desdemona inOtello, Gilda inRigoletto, Eva inDie Meistersinger von Nürnberg, and Pamina inThe Magic Flute. In 1953, she sang the role of Lady Rich inBenjamin Britten'sGloriana a few months after its world premiere, and created the role of Jenifer inMichael Tippett'sThe Midsummer Marriage, on 27 January 1955.
Sutherland married Australian conductor and pianistRichard Bonynge on 16 October 1954. Their son, Adam, was born in 1956. Bonynge gradually convinced her that Wagner might not be herFach, and that since she could produce high notes andcoloratura with great ease, she should perhaps explore thebel canto repertoire. She eventually settled in thisFach, spending most of her career singingdramatic coloratura soprano.
In 1957, she appeared inHandel'sAlcina with the Handel Opera Society, and sang selections fromDonizetti'sEmilia di Liverpool in a radio broadcast. The following year she sang Donna Anna inDon Giovanni in Vancouver.
In 1959, Sutherland was invited to singLucia di Lammermoor at the Royal Opera House in a production conducted byTullio Serafin and staged byFranco Zeffirelli. The role of Edgardo was sung by her fellow AustralianKenneth Neate, who had replaced the scheduled tenor at short notice.[9] In 1960, she recorded the albumThe Art of thePrima Donna: the double LP set won theGrammy Award forBest Classical Performance – Vocal Soloist in 1962. The album was added to theNational Film and Sound Archive'sSounds of Australia registry in 2011.[10]
Sutherland sangLucia to great acclaim in Paris in 1960 and, in 1961, atLa Scala and theMetropolitan Opera. For her Met performance ofLucia di Lammermoor, standees began lining up at 7:30 that morning. Her singing of the Mad Scene drew a 12-minute ovation.[11] In 1960 she sangAlcina atLa Fenice. Sutherland would soon be praised asLa Stupenda in newspapers around the world.[1] Later that year (1960), Sutherland sangAlcina at the Dallas Opera, with which she made her US debut.
.jpg)
HerMetropolitan Opera debut took place on 26 November 1961, when she sangLucia. After a total of 223 performances in a number of different operas,[12] her last appearance there was a concert on 12 March 1989.[13] During the 1978–82 period, her relationship with the Met deteriorated when Sutherland had to decline the role of Constanze inMozart'sDie Entführung aus dem Serail, more than a year before the rehearsals were scheduled to start. The opera house management then declined to stage the operettaThe Merry Widow especially for her, as requested; subsequently, she did not perform at the Met during that time at all, even though a production ofRossini'sSemiramide had also been planned, but later she returned there to sing in other operas.[14]
During the 1960s, Sutherland added the heroines ofbel canto to her repertoire: Violetta inVerdi'sLa traviata, Amina in Bellini'sLa sonnambula and Elvira in Bellini'sI puritani in 1960; the title role in Bellini'sBeatrice di Tenda in 1961; Marguerite de Valois in Meyerbeer'sLes Huguenots and the title role in Rossini'sSemiramide in 1962; Norma in Bellini'sNorma and Cleopatra in Handel'sGiulio Cesare in 1963. In 1966 she added Marie inDonizetti'sLa fille du régiment.
In 1965, Sutherland toured Australia with the Sutherland-Williamson Opera Company. Accompanying her was a young tenor namedLuciano Pavarotti.
During the 1970s, Sutherland strove to improve her diction, which had often been criticised,[5] and increase the expressiveness of her interpretations. She continued to add dramatic bel canto roles to her repertoire, such as Donizetti'sMaria Stuarda andLucrezia Borgia, as well asMassenet'sEsclarmonde. With Pavarotti she made a studio-recording ofTurandot in 1972 conducted byZubin 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 breakthroughLucia at Covent Garden.[15] In fact, her first commercial recording of the first and final scene ofLucia 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.[16]
During the 1980s, Sutherland addedAnna Bolena, Amalia inI masnadieri, andAdriana Lecouvreur to her repertoire, and repeatedEsclarmonde at the Royal Opera House performances in November and December 1983. Her last full-length dramatic performance was asMarguerite de Valois (Les Huguenots) at theSydney Opera House in 1990, at the age of 63, where she sangHome Sweet Home for her encore.[17] Her last public appearance, however, took place in a gala performance ofDie Fledermaus on New Year's Eve, 1990, at Covent Garden, where she was accompanied by her colleagues Luciano Pavarotti and the mezzo-sopranoMarilyn Horne. According to her own words, given in an interview withThe Guardian newspaper in 2002,[18] her biggest achievement was to sing the title role inEsclarmonde. She considered those performances and recordings her best.
After retirement, Sutherland made relatively few public appearances, preferring a quiet life at her home inLes Avants, Switzerland. One exception was her 1994 address at a lunch organised byAustralians for Constitutional Monarchy, when Sutherland commented: "It also upsets me that it is such a damned job to get an Australian passport now – you have to go to be interviewed by a Chinese or an Indian. I'm not particularly racist, but I find it ludicrous." Her criticism caused controversy.[19][20]
On 3 July 2008, she fell and broke both legs while gardening at her home in Switzerland.[21]
In 1972, Sutherland starred inWho's Afraid of Opera, a six-part children's television series, in which she performs selections from six different operas to a puppet audience.[22][23]
Sutherland later had a leading role as Mother Rudd in the 1995 comedy filmDad and Dave: On Our Selection oppositeLeo McKern andGeoffrey Rush.[24]
In 1997, she published an autobiography,A Prima Donna's Progress. It received mixed reviews for its literary merits.[25]Library Journal stated,
Opera superstar Dame Joan Sutherland gives an exhaustive account of her performing and recording career over four decades. From her early years in Australia and with the Covent Garden company in London, to her daunting schedule at most of the major opera houses of the world, we read endlessly of where, when, and with whom she sang which roles. We're shown a sensible woman and a hard-working artist, with a healthy ego tempered by a sense of humor that is often self-deprecating.[26]
The work includes 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 byNorma Major, wife of the then prime ministerJohn Major.[27]
In 2002, she appeared at a dinner in London to accept theRoyal Philharmonic Society's gold medal. She gave an interview toThe Guardian in which she lamented the lack of technique in young opera singers and the dearth of good teachers.[18] 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."[28] TheCardiff 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.[29]
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."[30][31][32] Though she recovered from her fall in 2008, it led to more serious health problems.[33] 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.[30] Her funeral was held on 14 October andOpera Australia planned a tribute to her.[33] 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."[33] Sutherland is survived by her husband, son, daughter-in-law and two grandchildren.[34][35]
Australian Prime MinisterJulia Gillard said, "She was of course one of the great opera voices of the 20th century," adding that Sutherland 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."[36]
A State Memorial Service on 9 November 2010, arranged by Opera Australia, was held at theSydney Opera House.[37] Speakers at the service wereJulia Gillard,Prime Minister of Australia; ProfessorMarie Bashir, theGovernor of New South Wales;Moffatt Oxenbould, the former Artistic Director ofOpera Australia; and Sutherland's son, Adam Bonynge. The service was broadcast live by bothABC1 television andABC Classic FM (radio) and streamed globally byABC News 24. Further memorial services were held inWestminster Abbey on 15 February 2011,[38] and in New York City on 24 May 2011, which was hosted byMarilyn Horne with an appearance by Richard Bonynge. In attendance wereSherrill Milnes,Norman Ayrton,Regina Resnik, andSpiro Malas.
| External audio | |
|---|---|
 Joan Sutherland as Donna Anna in Mozart's operaDon Giovanni withCarlo Maria Giulini conducting thePhilharmonia Orchestra in 1961 – viaInternet Archive |
Described as "fresh," "silvery" and "bell-like" until 1963,[39] Joan Sutherland's voice later became "golden" and "warm";[3] music critic John Yohalem writes it was like "moltenhoney caressing the line".[39] In his bookVoices, 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."[3] According to John Yohalem, "Her lower register was a cello register,Stradivarius-hued."[39] Her voice was full and rounded even in her highest notes,[40] which were brilliant, but sometimes "slightly acid".[41]
In 1971,Time writes an article comparing Sutherland andBeverly Sills,
Originally bright and youthful-sounding, her voice darkened as she transformed herself into a coloratura. There is a suggestion ofCallas' 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.[42]
Describing Sutherland's voice, John Yohalem writes:
On my personal color scale, which runs from a voluptuous red (Tebaldi) or blood-orange (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, butBillie Holiday had a blues voice, which is very different.)Diana Damrau is blue.Mirella Freni is blue-ish.Karita Mattila is ice blue.Régine Crespin was deep blue shading to violet. Sutherland was true blue (like theGarter 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.[39]
| External audio | |
|---|---|
| Joan Sutherland as Elvira in Vincenzo Bellini's operaI puritani withRichard Bonynge conducting theLondon Symphony Orchestra withLuciano Pavarotti as Arturo in 1974 – viaInternet Archive |
Although she is generally described as adramatic 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 among coloratura sopranos, Sutherland's voice could not be more different."[3]
In a 1961 profile inThe 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 realise this until she heard "Wagner sung as it should be."[11]
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."[3] In 1972, music criticWinthrop Sargeant describes her voice "as large as that of a top-rankingWagnerian soprano" inThe New Yorker.[43] French sopranoNatalie Dessay states, "She had ahuge,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 abig, huge voice, which is very rare."[44]
Sutherland'svocal range extended from G below the staff (G3)[11] to high F (F6), or high F-sharp (F♯6), although she never sang this last note in a public performance.[3][45]
During her career and after, Sutherland received many honours and awards. She was made a Commander of theOrder of the British Empire (CBE) in the1961 Birthday Honours.[46] That year she was named theAustralian of the Year.[47] Sutherland is a Distinguished Member of theSigma Alpha Iota International Music Fraternity.[48]
In the1975 Queen's Birthday Honours, she was in the first group of people to be named Companions of theOrder of Australia (AC) (the order had been created only in February 1975).[49] She was elevated within the Order of the British Empire from Commander to Dame Commander (DBE) in the1979 New Year Honours.[50]
On 29 November 1991,the Queen bestowed on Sutherland theOrder of Merit (OM).[51]
In 1992, Sutherland was a founding patron and active supporter of theTait Memorial Trust in London. A charity established by Isla Baring OAM, the daughter of Sir Frank Tait ofJ. C. Williamson's to support young Australian performing artists in the UK.[52] Sir Frank Tait was the Australian impresario who created and managed the Sutherland-Williamson tour of Australia in 1965.[53]
Sutherland House and the Dame Joan Sutherland Centre, both atSt Catherine's School, Waverley, and the Joan Sutherland Performing Arts Centre (JSPAC),Penrith, are all named in her honour.[54]
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.
She received the Lifetime Contribution Award in 2001Echo Klassik.[55]In January 2004 she received theAustralia PostAustralian Legends Award which honours Australians who have contributed to the Australian identity and culture. Two stamps featuring Joan Sutherland were issued onAustralia Day 2004 to mark the award. Later in 2004, she received aKennedy Center Honor for her outstanding achievement throughout her career.
On 22 May 2007, the year of thecentenary of the birth of sopranoLina Pagliughi, she received the awardLa Siòla d'Oro at theTeatro Comunale di Bologna.[56]
In 2012, Sutherland was voted into the first Hall of Fame of the magazineGramophone.[57]
In 2024, she was recognised in theAustralian Women in Music Awards and was inducted into the AWMA Honour Roll. The award was accepted by Sutherland's granddaughter.[58]
Sutherland performed live the following complete roles.[59]
| First performance | Composer | Work | Role | House | Conductor | Director | Remarks |
|---|---|---|---|---|---|---|---|
| 20 June 1947 | Handel | Acis and Galatea | Galatea | Eastwood Masonic Hall, Sydney | Concert performance | ||
| 30 August 1947 | Purcell | Dido and Aeneas | Dido | Lyceum Club, Sydney | Concert performance | ||
| 15 July 1950 | Handel | Samson | Dalila and Israelite woman | Sydney Town Hall | Concert performance; Sutherland made her professional role debut as the Israelite woman on 14 October 1958 | ||
| 9 July 1951 | Goossens | Judith | Judith | Sydney Conservatorium of Music | Goossens | Sutherland's first complete staged opera | |
| 16 July 1952 | Puccini | Il tabarro | Giorgetta | Parry Theatre, RCM | Richard Austin | Peter Rice/Pauline Elliot | |
| 28 October 1952 | Mozart | The Magic Flute | First lady | ROH, Covent Garden | Pritchard | Messel | Sutherland's professional debut |
| 3 November 1952 | Verdi | Aida | High Priestess | ROH, Covent Garden | Barbirolli | Cruddas | |
| 8 November 1952 | Bellini | Norma | Clotilde | ROH, Covent Garden | Gui | Barlow | |
| 29 December 1952 | Verdi | Un ballo in maschera | Amelia | ROH, Covent Garden | Pritchard | Barlow/Stone | Sutherland's first leading role |
| 24 February 1953 | Mozart | The Marriage of Figaro | Countess Almaviva | ROH tour,Edinburgh | J Gibson | Gerard | |
| 13 May 1953 | Strauss | Elektra | Overseer | ROH, Covent Garden | Kleiber | Lambert | |
| 11 August 1953 | Britten | Gloriana | Lady Rich | ROH tour,Bulawayo | |||
| 19 October 1953 | Wagner | Die Walküre | Helmwige | ROH, Covent Garden | Stiedry | Pemberton | |
| 2 November 1953 | Bizet | Carmen | Frasquita | ROH, Covent Garden | Pritchard | Wakhévitch | |
| 4 February 1954 | Verdi | Aida | Aida | ROH, Covent Garden | E Young | Cruddas | |
| 23 March 1954 | Weber | Der Freischütz | Agathe | ROH, Covent Garden | Downes | Furse | |
| 30 April 1954 | Piccinni | La buona figliuola | Lucinda | Mackerras | BBC radio broadcast | ||
| 27 May 1954 | Wagner | Der Ring des Nibelungen | Woglinde and Woodbird | ROH, Covent Garden | Stiedry | Hurry | Sutherland also sang the role of Helmwige, which she had sung previously; the other dates of the cycle were 2, 8, and 17 June |
| 17 November 1954 | Offenbach | Les contes d'Hoffmann | Antonia | ROH, Covent Garden | Downes | Wakhévitch | |
| 27 January 1955 | Tippett | The Midsummer Marriage | Jenifer | ROH, Covent Garden | Pritchard | Hepworth | World premiere; Sutherland created the role |
| 28 February 1955 | Offenbach | Les contes d'Hoffmann | Giulietta | ROH tour,Glasgow | Downes | Wakhévitch | |
| 19 June 1955 | Offenbach | Les contes d'Hoffmann | Olympia | ROH, Covent Garden | Downes | Wakhévitch | |
| 30 September 1955 | Weber | Euryanthe | Euryanthe | Stiedry | BBC radio broadcast | ||
| 30 October 1955 | Bizet | Carmen | Micaela | ROH, Covent Garden | Downes | Wakhévitch | |
| 11 March 1956 | Mozart | La clemenza di Tito | Vitellia | Pritchard | BBC radio broadcast | ||
| 10 November 1956 | Mozart | The Magic Flute | Pamina | ROH, Covent Garden | J Gibson | Messel | |
| 28 January 1957 | Wagner | Die Meistersinger von Nürnberg | Eva | ROH, Covent Garden | Kubelík | Wakhévitch | |
| 19 March 1957 | Handel | Alcina | Alcina | St Pancras Town Hall | Farncombe [es;fr] | ||
| 8 June 1957 | Verdi | Rigoletto | Gilda | ROH, Covent Garden | Downes | Gellner | |
| 5 July 1957 | Mozart | Der Schauspieldirektor | Mme Hertz | Glyndebourne Festival Opera | Balkwill | Rice | |
| 16 August 1957 | Scarlatti | Mitridate Eupatore | Laodice | Appia | BBC radio broadcast | ||
| 8 September 1957 | Donizetti | Emilia di Liverpool | Emilia | Pritchard | BBC radio broadcast | ||
| 21 December 1957 | Verdi | Otello | Desdemona | ROH, Covent Garden | Downes | Wakhévitch | |
| 16 January 1958 | Poulenc | Dialogues of the Carmelites | Mme Lidoine | ROH, Covent Garden | Kubelík | Wakhévitch | |
| 24 May 1958 | Haydn | Applausus Musicus | Temperantia | Newstone | BBC radio broadcast | ||
| 26 July 1958 | Mozart | Don Giovanni | Donna Anna | Vancouver Opera | Goldschmidt | Maximowna | |
| 17 February 1959 | Donizetti | Lucia di Lammermoor | Lucia | ROH, Covent Garden | Serafin | Zeffirelli | This performance marked the beginning of Sutherland's international career |
| 24 June 1959 | Handel | Rodelinda | Rodelinda | Sadler's Wells Theatre | Farncombe | Pidcock | |
| 8 January 1960 | Verdi | La traviata | Violetta Valéry | ROH, Covent Garden | Santi | Fedorovitch | |
| 24 May 1960 | Bellini | I puritani | Elvira | Glyndebourne Festival Opera | Gui | Heeley | |
| 19 October 1960 | Bellini | La sonnambula | Amina | ROH, Covent Garden | Serafin | Sanjust | |
| 21 February 1961 | Bellini | Beatrice di Tenda | Beatrice | New York Town Hall | Rescigno | Concert performance; Sutherland first performed this role on stage on 10 May 1961 | |
| 4 January 1962 | Mozart | The Magic Flute | The Queen of the Night | ROH, Covent Garden | Klemperer | Eisler | |
| 28 May 1962 | Meyerbeer | Les Huguenots | Maguerite de Valois | La Scala | Gavazzeni | Nicola Benois | |
| 17 December 1962 | Rossini | Semiramide | Semiramide | La Scala | Santini | ||
| 20 June 1963 | Handel | Giulio Cesare | Cleopatra | Sadler's Wells Theatre | Farncombe | Warre | |
| 17 October 1963 | Bellini | Norma | Norma | Vancouver Opera | Bonynge | McLance/Mess | |
| 9 March 1965 | Gounod | Faust | Marguerite | Connecticut Opera | Bonynge | Rome/Brooks van Horne | |
| 2 June 1966 | Donizetti | La fille du régiment | Marie | ROH, Covent Garden | Bonynge | Anni/Escoffier | |
| 10 April 1967 | Delibes | Lakmé | Lakmé | Seattle Opera | Bonynge | ||
| 21 May 1967 | Haydn | L'anima del filosofo | Euridice | Theater an der Wien | Bonynge | Ludwig | |
| 12 November 1971 | Donizetti | Maria Stuarda | Maria Stuarda | San Francisco Opera | Bonynge | Pizzi | |
| 26 October 1972 | Donizetti | Lucrezia Borgia | Lucrezia | Vancouver Opera | Bonynge | Varona | |
| 14 September 1973 | J.Strauss II | Die Fledermaus | Rosalinde | San Francisco Opera | Bonynge | ||
| 23 October 1974 | Massenet | Esclarmonde | Esclarmonde | San Francisco Opera | Bonynge | Montressor | |
| 12 September 1975 | Verdi | Il trovatore | Leonora | San Francisco Opera | Bonynge | Hager/Skalicki | |
| 22 April 1976 | Lehár | The Merry Widow | Hanna Glavari | Vancouver Opera | Bonynge | Varona | |
| 16 July 1977 | Puccini | Suor Angelica | Suor Angelica | Sydney Opera House | Bonynge | Digby | |
| 23 September 1977 | Massenet | Le roi de Lahore | Sita | Vancouver Opera | Bonynge | Mariani | |
| 4 July 1979 | Mozart | Idomeneo | Elettra | Sydney Opera House | Bonynge | Truscott | |
| 2 July 1980 | Verdi | I masnadieri | Amalia | Sydney Opera House | Bonynge | Lees/Stennett | |
| 22 May 1983 | Cilea | Adriana Lecouvreur | Adriana | San Diego Opera | Bonynge | O'Hearn/Mess | |
| 22 June 1984 | Donizetti | Anna Bolena | Anna Bolena | Canadian Opera Company, Toronto | Bonynge | Pascoe/Stennett | |
| 4 October 1985 | Thomas | Hamlet | Ophélie | Canadian Opera Company, Toronto | Bonynge | Shalicki/Digby/Stennett |
Recitals
Sutherland made various recital and lieder recordings, usually with Richard Bonynge, many of them originally double-LPs. Some are still available in CD-format.
In 2011Decca re-released these recitals in a 23-CD set (Complete Decca Studio Recitals, Decca 4783243) comprising:
Opera recordings (non-exhaustive)
Video recordings
7 October 1994 Dame Joan Sutherland addressed a lunch organised byAustralians for Constitutional Monarchy and said: I was brought up having a British passport and it upsets me that I don't have a British passport now ...; When I go to the post office to be interviewed by a Chinese or an Indian – I'm not particularly racist – but I find it ludicrous, when I've had a passport for 40 years.
Interviews
Obituaries
| International | |
|---|---|
| National | |
| Academics | |
| Artists | |
| People | |
| Other | |
