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
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... more » 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« less
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
CD Reviews
Unbelievable
08/25/2000
(5 out of 5 stars)
"It was expected for a very long time a CD with MAD SCENES with Joan Sutherland as singer. Her skills as coloratura soprano are unbelievable. In these interpretations you can feel dramatism and emotions. Joan as Lucia always shines. In this recording you can find an improved characterization of this rol, but it is harder interpretation than the first ones. Her Elvira is sweet and bright, but I prefer a another of her permances that was directed by Serafin around 1960. Joan's first performance of Hamlet was around 1982 or 1983 with Sherill Milnes in the title rol. This was recording by DECCA. Actually it is very hard to find this recording. Maybe DECCA should restore it. The rols of Dinorah and Catherine were beatifully carried out by Sutherland, vacally and dramaticly. LA STUPENDA IS STILL THE BEST."
La Stupenda rules!!!
Alex | Bucharest, Romania | 01/29/2002
(5 out of 5 stars)
"This CD features Dame Joan Sutherland in arias from 1962 to 1683. The compilation is a spectacular display of coloratura, mastered by the greatest coloratura soprano of the century.The first 2 tracks are from ?I Puritani?, recorded in 1973. The caballetta ?Vien, diletto?? is sung gorgeously. Dame Joan alters the cadenza in the second half of the caballetta, and concludes with a high E flat. The ?Ombre legere? aria is sung with visible ease, even though this aria is extremely difficult. Just listen to the final high E (huge and agressive), and be amazed by this phenomenal display of fireworks. The mad scene from Thomas? Hamlet is recorded in 1983, when Dame Joan was 57. It is impressive how she sings at that age! She sung when she was past her prime the way most of the sopranos nowadays sing like when they are in their prime. Indeed, the voice shows some signs of wear, but the high notes are there, the coloratura is fast, the characterisation is well handled. The Lucia mad scene is from the 1971 recording, the best known of her recordings, although not her best. She is incredible in the ?Spargi d?amaro pianto? when she concludes with a high E flat, that covers the orchestra and the chorus. She had a huge voice!This CD stands as an avidence of how incredible La Stupenda was, and how her voice changed along the years."
Excellent
Alex | 08/14/2000
(5 out of 5 stars)
"Finally a recording of Joan's mad scenes. I find this cd interesting because it contains recordings from as far back as 1960, but it also include the hamlet mad scene that was recorded in 1986. The earlier the better, of course, by far. But I have to give it to dame Joan to record Hamlet at near sixty. It is extremely visible that the 1986 Sutherland had lost 1/2 of her voice and 1/2 of her technique. This recording has a lot of rare gems, including the mad scene from Dinorah, featuring a young dame Joan. And Qui la voce from the 1975 Puritani that is out of print, sung brilliantly."
She's still the queen
Alex | 06/01/2003
(5 out of 5 stars)
"Dame Joan, you're still prima donna assoluta. Even with impressive competition from Callas, Sills, Caballe, and others. They can't hold a candle to you.You have the best trill,staccato,runs,arpeggios,and the most spectacular high notes in the world. And you have the most gorgeous tone as well. On top of all that, you have a heart of gold. Now that's something that is unique among prima donnas."
Sutherland is the "Queen of opera"
Alex | 07/03/2003
(5 out of 5 stars)
"The fact is Sutherland is the greatest coloratura soprano of our time. Even Callas fans agree with that. Sills is great too. But she is second best. Sutherland has a huge voice, huge high notes, a perfect trill, much faster staccato and fiorature. Only thing Sills has over Sutherland is her acting.
This "Fille" is universally regarded as a classic. Look at the Schwann catalog and you'll see it listed as essential. Sills is no mention at all. I wasn't going to say that but you deserve it. Man, putting on over 30 negative reviews of Sutherland, Callas, Renee Fleming and who know who else?
I was going to keep silent. But after repeatedly hearing this immature 12 year old jealous person bash Sutherland at least 30 times, I will not remain silent. NO one in this site I know go to Sill's opera reviews to bash Sills. And if they did, I won't agree with them.
You know that many fans of Sutherland are also fans of Sills. So your doing this is not making any friends.
I have to say this. All the opera books site Sutherland as the greatest coloratura of the last century. They also site Callas as the greatest singing actress of our time. They briefly mention Sills. If you don't believe me, go to the library."
Track Listings (11) - Disc #1