Somnambula Richard Bonynge

By 1981, when this production was taped for Canadian television, Joan Sutherland's voice was unquestionably past its prime. But even in its decline, that voice remained something quite special, and the role of the troubled Druid priestess Norma was one of her specialties. A substantial advantage in this recording is the presence at the podium of her husband and coach, Richard Bonynge, who had a deep understanding of the strengths and limitations of her voice and stage persona. His pacing and balance give the voice opportunities to challenge, at least momentarily, the ravages of time. Lotfi Mansouri, one of the great operatic entrepreneurs of the late 20th century, assembled a first-class supporting cast for Sutherland–most notably Tatiana Troyanos, to whose memory this video is dedicated.

Le toréador, ou L'accord parfait (The Toreador, or The Perfect Agreement) is an opéra comique in two acts by the French composer Adolphe Adam with a libretto by Thomas-Marie-François Sauvage. It was first performed at the Opéra-Comique, Paris on May 18, 1849. It was a huge success and the work regularly appeared in the repertoire of the Opéra-Comique until 1869.

In tradition of grand opera, Dame Joan Sutherland's farewell performance to the operatic stage in Giacomo Meyerbeer's Les Huguenots is a gala triumph of spectacle, pageantry, and drama. This technically complex production captures the horror and tragedy of the St. Bartholomew's Day massacre, as well as the splendor and romance of 16th century France. Sutherland's glorious soprano voice is just one of the many brilliant highlights of this acclaimed performance, a revival of director Lotfi Mansouri's highly praised 1981 production. Often referred to as "The Night of the Seven Stars," Les Huguenots is a demanding production that requires the presence of seven major talents to sing the lead roles. For this reason, it is not often performed, but it is a most fitting end to the career of "La Stupenda," one of opera¹s brightest stars.

Joan Sutherland was at the height of her career when she took on the role of Leonora – arguably the most dramatic of all Verdi heroines – in 1983. Elijah Moshinsky’s production, in which he was ably supported by the Australian artist Sidney Nolans (set design), Luciana Arrighi (costumes) and Nick Chelton (lighting), was tailor-made for Sutherland, allowing Leonora to develop into a truly tragic heroine occupying the opera’s central ground. This performance at the Australian Opera, Sydney – and featuring a high quality cast under the baton of Richard Bonynge – was recorded by Australian Television on 2nd July 1983. Verdi’s powerful and passionate opera tells a tale of civil war and treachery.

It would have been better, of course, if this 1984 production of Donizetti's Anna Bolena, or at least its title role, had been filmed 20 years earlier, when Joan Sutherland's voice was in its spectacular prime. But like her Canadian Opera Norma, dating from 1981, this is a better-late-than-never documentation of one of the most remarkable voices of the 20th century.

Bellini’s Norma contains one of the most impressive and also most difficult soprano roles in the whole repertoire of opera. Few sopranos can do justice to it. The first of those who have must surely be Maria Callas, considered the outstanding interpreter of the title part. The role, along with Bellini"s opera, was interpreted in a revolutionary fashion by Joan Sutherland (born in Sydney 1926). She is the protagonist in the present recording made at the Sydney Opera House in August 1978. "La Stupenda", as Joan Sutherland was known in musical circles, ended her international career in 1990. The celebrated production by Sandro Sequi, with Fiorella Mariani"s lavish décor and costumes, concentrates entirely on the human destiny of a woman on the edge of her existence. He intelligently brings forth the priestess’ emotional world, hence showing the many facets of Norma"s character.

Francesco Cilea’s most popular work is based on the 1849 play by Eugene Scribe and Ernest Legouvé. Adriana Lecouvreur is a star of the stage who could seemingly have any man she desires, but when she falls hopelessly in love with the Count of Saxony, she discovers he's already been promised to the Princess of Bouillon, leading to a battle of wills between them. Filmed in 1984 at Sydney Opera House.

Dame Joan Sutherland and tenor Alfredo Kraus star in Donizetti's tale of sixteenth century opulence and decadence. Joan Sutherland is unquestionably the unsurpassed Lucrezia of all-time, and this production at Covent Garden showcases her incomparable coloratura technique. Bel canto specialist Richard Bonynge conducts The Orchestra of the Royal Opera House in this historic performance.

Joan Sutherland first sang the role of Alcina in 1957 and continued to sing it until 1983. The role allows her to display her technical agility, the breath control on long phrases and her stunning trill. It must be admitted that her diction is not clean – but what glorious singing. Teresa Berganza as Ruggiero is Sutherland's equal throughout the entire opera. Her approach is less overtly spectacular but her "Verdi prati" is an object lesson in classic vocalism. With a glorious contralto voice, Monica Sinclair attacks the role of Bradamante with gusto. The three octave scale which concludes her Act 1 aria is not stylistic, but it is exciting. In the shorter roles Mirella Freni and Graziella Sciutti are excellent. Freni was at the beginning of long and glorious career. The male roles are of less importance in this opera but they are very well sung by Luigi Alva and Ezio Flagello.