Customer Reviews

La Stupenda ~ The Supreme Voice of Joan Sutherland

5 star:		(50)
4 star:		(2)
3 star:		(0)
2 star:		(1)
1 star:		(3)

 

 

Listen to the aria from Esclamonde - an "Wagnerian" style of orchestratal writing written for a true dramatic coloratura, which was exactly the type of singer that Joan Sutherland was. No one today or yesterday can touch this. That aria alone is worth the cost of this two cd collection. In the beginning, after extremely fast staccati, she hits and holds two of the most powerful high D's I can recall hearing. Other highlights are the Lucia mad scene, the Puritani polanaise, and the "Santo di Patria" from Verdi's Attila - which must be heard to believe. In this aria, Sutherland attacks her cabelettas the way Callas would have - extremely aggressive! Another big highlight is the unbelievably difficult concerto for coloratura and orchesta - another gem that only La Stupenda could sing. You have to hear it to believe it.

I love Ms. Joan Sutherland. I discovered her unique voice in a compilation recording that I bought on the Opera Gala label (a London/Decca sub-label). It was just one piece that she was on, but it started a love of her voice and singing. I've since bought a number of Joan Sutherland CDs, but this compilation is the tops. The concerto for coloratura soprano sounds like it must be a grueling piece for a singer, but Ms. Sutherland makes it sound like it's a magic carpet ride. Her voice floats, soars, and radiates with seemingly ease. Definitely, this is the highlight of the two CD set, but all of it is great stuff.

simply beautiful singing. what makes this unique is that this collection contains recordings anywhere from 1958 to as late as the 80's. there are two cds, which makes it a good value. most of the materials are from her stupendous period, but there are one or two from her droopy period. but 90% of the items here are beautiful indeed. the highlights: the queen of the night aria, duet with horne from semiramide that is out of print, the coloratura concerto, the fabulous duet from traviata (wow!), and the very first recording of the mad scene done by sutherland (1958) that even supercedes her first complete lucia with tenor cioni(1960). to give you the importance of this mad scene, it was recorded before her legendary debut as lucia at covent garden in 1959! at this period, sutherland did not scoop, or droop, or whatever. she follows maestro tullio serafin, who insisted on pure coloratura precision ( he also coached callas ) and he insisted that sutherland will surpass callas as a coloratura, and he was right. not to put down the fantastic contribution by perhaps an even more important diva than la stupenda. the two divas are the greatest contribution to the annals of opera than all other divas combine. i love them both dearly. but perhaps i am even more prone to callas because she is the complete package, both voice, technique, and artistry. but sutherland is impressive because of complete control of everything that rossini, donizetti, and bellini ever wrote. just how she is able to achieve vocal lines that are nearly impossible with ease is perhaps god's gift to her. she is superhuman when she opens her mouth. yes, unfortunately, she is not that that convincing when she needs to act, but the level of bravura is so high, that one leaves her performances in disbelief. and for that alone, she is in the same caliber as callas. of course, these days, we have no callas and sutherland. we don't even have roberta peters or renata scotto. so we have these recordings. so we are lucky that the recording studio left us with these fabulous excerpts.

this very first recording of the mad scene from lucia is not available anymore, and it is, by far superior to both of sutherland's takes of the same mad scene from two complete recordings of lucia di lammermoor, sutherland/cioni(1960), and sutherland/pavarotti(1971). this mad scene, about 1958 or early 1959 is the most magnificent one that sutherland has put on records. i mean it, i would have paid a hundred dollars just to get this, it's that good. she attacks all the high notes and holds them. and the voice is so girlish, and so at east at the highest of notes. and at this period, the high e flats are huge, they explode. even my best friend, who hates opera reacted by, "oh, my gosh", when he heard this in my car stereo when we were heading to the mall. i mean it, if you think that the complete recording in 1960 of lucia is special, this one is that much better. in fact, i don't think as perfect singing of this mad scene will ever be heard again. sorry i keep going on, but i really feel that this take of the lucia mad scene is even more stupendous than her singing in general of various taxing arias from "art of the prima donna". the reason, she attacks everything from the top, and mammoth high notes (especially high e flats) that are twice or three times the size of her high notes later in her career. i don't think in our life time, we'll ever hear such perfection again. alas.

This is why Dame Joan Sutherland is called La Stupenda. It's all here. The usual and the unusual. From the spectacular cabaleta Santo di Patria from Atilla to Mild und leise wie er lachet from Tristan und Isold. I must refer the Concerto for Coloratura Soprano and agree with the music fan from New York - Only Sutherland can do this with such technique and cristal clear voice. This is a must have.

There are a lot of jealous people here especially Sills fans who knows that Sutherland is the undisputed greatest coloratura soprano of the Twentieth Century.
To get an unbias view, here is a quote from Harriet Johnson's comments about La Stupenda's incomparable voice in the New York Post:

"...Her voice - a true, dramatic coloratura - and her effortless use of it are phenomenal. In my experience, I have heard only one
singer to compare with her in vocal greatness, the late Norwegian soprano Kirsten Flagstad, whose voice in a completely different genre - a real dramatic soprano - was also miraculously beautiful and effortless. Today, Miss Sutherland has no peer."

Even the most ardent Callas and Sills fans have to admit that Kirsten Flagstad's voice is consider one of the wonders of this operatic century. She is consider the greatest Wagnerian soprano to even grace the operatic stage...To compare Sutherland's voice to her is to state that Sutherland's soprano is not only of the highest order in terms of trancendental beauty, but also of amazing power. Yes, La Stupenda can sing Seglinda, or maybe even Brunhilde, she was trained for that early in her career. Because of this, she's became a true dramatic soprano coupled with the most amazing coloratura technique ever. So all comparison with Sills, who is a light coloratura is rediculous and without merit.

But there's much more...Sutherland's vocal superiority goes even further, making her the "Voice of the Century". Besides having a voice that is supreme in beauty and clarity second to none. It is universally accepted that La stupenda is the ultimate technician in all aspects of coloratura...from her perfect trill to her precision fioratura, and her magnificent high notes of titanic proportions - up to high G if needed. Definitely, her coloratura cannot be match by anyone in memory. Yes, some can come close, but none can touch her.

With credentials like that, no wonder the Italians dubbed her La Stupenda in 1960 after a miraculous performance of Alcina. This compilation includes this great aria from Alcina as well as many of the great Australian Diva's other great roles.

This collection includes the most diverse and difficult program to put on two cds. It is so fantastic that you have to hear it to believe its glories. All the excerpts are highlights. But I will have to say the Coloratura soprano Concerto and the Esclamonde excerpts are invincible. But the mad scene from Lucia from a 1959 recording by La Stupenda is also thrilling. AS is a fabulous polonaise from Puritani that proves once and for all she is born to sing Elvira in Puritani.

To conclude...This collection is not only essential, but necessary. It is the resume of the greatest coloratura of our time, La Stupenda.

The highest recommendation.

This collection is so wonderful that I don't know what to say. If you want to hear the most sensational super coloratura to ever grace the earth, this is it.
This contains many arias that are out of print.
The highlight of the Concerto for soprano and orchestra alone is worth 10 times the cost of the cd set.
The flying scene from the Wagnerian like Massenet opera Esclamonde is here.
Esclamonde is the most difficult dramatic coloratura role ever written because it calls for a true coloratura soprano capable of many notes of high D's E's, and a G. Yet she must also have a lightning fast staccato and be able to soar above a one hundred piece orchestra.
As Esclamonde, Sutherland proves that she could have sung Brunhilde in Walkure and triumph. And she was nearly 50 when she sang Esclamonde.
You can't buy Esclamonde in just any store. So to get this special highlight, get this recording. It will make you beg for more.
This cd also includes a 1958 Lucia di Lammermoor mad scene that puts all of Sutherland's other Lucias to shame.
If you are to buy any cd set of a coloratura soprano, this is the one to get. It is second only to the "art of the Prima Donna"- which is well known as the greatest coloratura compilation ever recorded.(also by Sutherland-except it's vintage 1960).
If you can afford it, buy both the "art of the Prima donna" and "The supreme voice of Joan Sutherland". Your jaws will drop and you will be awe of the greatest coloratura soprano in the history of opera.

I think I have just worn this CD out! Almost everything on here I just can't get enough of. Joan is absolutely amazing! I really highly recommend buying this. It showcases some of her best work. An unusually great collection!!!

Tornami a vagheggiar, from Alcina, is so amazingly fun. She has such artistry and musicianship. This is certainly a pleasure to hear over and over again. "In questa reggia," from Turandot, is a nice piece for her. It shows off her power and tonation. It's really the role for Joan and I'm glad they've included it. The Concerto for Coloratura Soprano pieces are nice to hear -- wonderful show-off pieces. The duet from Esclarmonde shows her sheer wonderfulness that explains it all. The technique to jump two octaves like that -- from D to D - and she doesn't even have to slide. WOW! That is one of reasons why Dame Joan became so famous. She has that dramatic voice that can sing so high and stay there forever and ever! (Look at what the very first reviewer said about this song.) When I listened the duet it I thought, why haven't I heard of this before, it's excellent composing. Then I realized why. Dame Joan is the only soprano that can handle this! There is just none like her (Well, June Anderson does have the high notes).

Sutherland is too young in this particular recording of "Casta diva". In a couple more years she will own this role, but this one I feel is a poor example to show. If you want to hear the ULTIMATE Casta diva, check out the recording with Horne and Alexander. It out does this one by far! It shows the power and strength of those amazing vocal chords. The Queen of the Night aria is not Joan at her best. Again, maybe she was too young, The high F is just not pleasurable to hear. She peeps it out with a great deal of work, and singing is not suppose to sound like it's that much work. The rest of the aria sounds nice. It sits well in her range, her acting is nice and she doesn't drag on forever in the recitative like so many singers do. Dramatic coloratura is what the role called for but Queen of the Night just isn't a Joan role. I very much salute her for her try but...I don't know. Now, in gerneral, Joan's English is not understandable, period! You can't understand a word she's saying because she's being too much of an opera singer. The "I dreamt I dwelt in marble halls" and the Nun's chorus one, I do have to admit are pretty, but they're just a bunch of pretty sounds gurkled and murmured into this big pie of sounds. Now I see why people complain so much about her diction. The Boys from Syracuse one, "Falling in love with love," is a joke. Why on Earth is she singing musical theatre. She sounds ridiculous.

But enough with the silly criticism, there never was one before her and there never will be one like after her. Thank God we have her preserved in recordings. She has absolutely changed the course of opera and the whole art form in general. Everyone should own this collection. It's almost all you need.

Yes, Rudy , the ex Republican governor of New York was the biggest Joan Sutherland fan. He declared a Joan Sutherland Day in New York when he was governor. I can't say this if it's not true. You can look this up, it's a fact. He didn't name any other days for other opera singers.
Yes, that how great La Stupenda is.
This is her greatest collection of role she's ever done.
I have it and love it.
But also check out the "Art of the Prima Donna", and her "Lucia di Lammermoor".
You will discover a soprano voice that is the most beautiful in tone and a true virtuoso in coloratura display.
Note the Concerto for Coloratura and soprano. No one can sing it except Joan Sutherland.
Brava, Dame Joan!

This is another COMPILATION of Sutherland arias taken from various recordings she made throughout her life and career. Some were issued decades ago (like the Queen of the Night's aria - originally on "Age of Bel canto", a 2 record set), some from more recent recordings (Oh non giunge uman pensiero - from the newer recording of La Sonnambula recorded with Pavarotti; also less exciting than her older version with her earlier recording of that opera). Some are perhaps not to everyone's liking (I dreamt I dwelt in Marble halls, from the Bohemian Girl - which by the way, I really enjoyed having heard the aria sung in the complete recording of that opera conducted by Sutherland's husband; a pity they never did it together, she is just so "spoony" and that suits that aria like a glove), and no, her version of the Liebestod from Tristan und Isolde certainly is no threat to Birgit Nilsson, or Jessye Norman. Like any artist, they have those things they shine out like a spotlight in, and those things, though done super well, where they just are not in their element. One will find this, but at no time will one be disappointed. Sutherland does a wondrous job on everything she sings. Perhaps some of the selections were not what we would have liked, but then again, with all that she has recorded it is hard to choose something and not turn it into a remake of "the Prima Donna Album." It is a good buy, you won't be really disappointed by anything.

First of all, there are a few jealous and hateful bashers here, ignore them and read the real reviews. You can tell they are bashers by their two to five sentence reviews that are definitely mean spirited. You can also tell by their one star votes. How can anyone give one star to one of the greatest voices of this Century.

I absolutely agree with the many opera lovers here that this cd is incredible. I am in awe of the glories of the Sutherland voice. The highlights of the "Concerto for Coloratura and Orchestra" and Joan's first Lucia, recorded even before she sang it triumphantly at Convent Garden, are indeed extraordinary. This, along with her historic cd "The Art of the Prima Donna" are the consummate examples of this magnificent singer's art.

But the true crown jewel of this collection is the "Flying Scene" from Massenet's Esclamonde.
It shows La Sutherland as a true dramatic coloratura soprano, the rarest of all singers. She is sensational in this most arduous of all dramatic soprano roles. It simply calls for a coloratura soprano of great range with flawless technique capable of handling a 150 piece Wagnerian size orchestra.

When the Metropolitan saw La Sutherland in the role, the Herald-Tribune writer Herbert Berlin wrote,

"...Miss Sutherland is the supreme soprano of this century. She may be the greatest soprano of any century but we have no way of judging. We do know that she is the only person in the world who can sing Esclamonde. It is a fiendishly difficult part that demands a combination of every vocal skill. Only Sutherland can do it. She is the phenomenon for whom the opera was revived..."

The scene from Esclamonde we hear here is its most famous one, "Esprits de l'air! Eprits de l'onde!", the "Flying Scene". You will be treated with two huge high Ds and coloratura executed above a Wagnerian size orchestra. As Mr. Berlin had said, NO ONE except Sutherland could sing it. The great Australian Diva first sang it at San Francisco in 1974, creating a frenzy among both the opera fans and critics alike. Her soprano was at its most glowing at that time, and its size, tremendous. Since it is sung in French, her diction is superb. It is a tour de force of the highest magnitude. Hear it for yourself and be dumb founded along with many of the other taxing excerpts in this cd! You won't believe your ears.