The Art of the Prima Donna

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 Amazon.com

The start of a remarkable career

I recently purchased yet another copy of this remarkable performance. I seem to always be lending it out to someone and never getting it back. Who cares. It has always been in my collection in one form or another since I initially heard it as a 16 year old in 1970. Sharing it has always been a great pleasure. This is a recital to heard, cherished and savored with anyone interested in the classical voice. It may possibly be the finest recital performance on record.

This splendid remastering at 96kHz 24-bit super digital tranfer only serves to make it sound all the better, clearer, crisper. For lovers of classical singing, the bel canto performance or just fine musicianship it is highly recommended. For lovers of Dame Sutherland it is required. April 30, 2008

Great but not the greatest

Let me state at the outset: I am a SERIOUS admirer of Joan Sutherland. Not her biggest fan by any means - for reasons which I will explain later - but someone who recognises and takes great pleasure from a truly remarkable voice. No-one would argue (even her critics) that she was one of the most gifted coloraturas in the world. The agility, precision and "speed" of her voice is (probably) unsurpassed. Add to that the fullness of tone so rare with this level of agility (Natalie Dessay and Emma Kirkby are equally nimble but with much thinner, paler tone) and an uncommonly powerful instrument and you have an extraordinary package.
Now, I fully realise that these sorts of review are open to be used as a vehicle for fan raves and I'm afraid that this seems to be the case with many of the reviews here. So this will be an attempt to remain as objective and unbiased as possible.
I have listened to this recital disc many times, both before and since reading the reviews on Amazon. I have no axe to grind in favour of one artist over another but I am always sceptical of statements like "the greatest ever". It is undeniable that Sutherland sang with awesome technical bravura and, in that context, should be seen as one of the most gifted singers on record. Any aspiring coloratura soprano MUST hear her earlier work, however daunting the task of trying to match her might seem, just to see what is achievable. But the voice of the century? Let's not get carried away.
Singing is not just about technical proficiency, however jaw-dropping it is. Singing is about COMMUNICATION. And when it comes to warmth, characterisation or that strangely undefinable term "soul", then Dame Joan I'm afraid comes some way down the list. And if there are those who insist that coloratura singing is not about these things, then I earnestly suggest you listen to Callas, Sills or even Kathleen Battle. True, Callas had many vocal flaws and I am no more an admirer of her than I am of Sutherland, but she proved that coloratura singing could, and should, have a dimension beyond dizzying vocal pyrotechnics and immaculate high notes*.
The bottom line is . . . as with all things, it all depends on what your priorities are. If you are looking for astonishing vocal gymnastics (and I mean that in a complimentary sense), then The Art of the Prima Donna is probably as good as you will find. It is a remarkable show-case of a remarkable talent. My real reservation about it is that there is something slightly mechanical, premeditated and lacking in passion and spontaneity that leaves me hugely impressed but not wholly satisfied. If you're looking for emotional depth, you won't find much here.
*As a footnote, and again in the interests of objectivity, I have to say that even Dame Joan falters technically from time to time. One that makes me wince is her top note at the end of "Vien diletto" - not a pleasing sound. There are other shortcomings, but that is because nobody, but NOBODY, is perfect. I still love her and I would recommend this CD to anyone seriously interested in great singing. But to call her the greatest just proves the old saying that love is blind.
February 8, 2008

Art of the Prima Donna

The Art of the Prima Donna
This was the very first recording I bought of Joan Sutherland. A display of vocals like I've never heard before she came into the opera scene. A magnificent recording of all her greatest arias. A must for the opera lover. December 29, 2007

The Young Sutherland in Fine Voice

This CD represents Sutherland in her early career. And what a nice representation of her talent and overwhelming vocal skills at that time. There is a nice essay exploring briefly the evolution of the "prima donna," from Mrs. Billington to Malibran to Patti to Hempel to Galli-Curci. Brief, but useful. Some samples of cuts on this CD:

The CD begins with, to my ears, is the least excellent of the lot of tunes that follow. "The Soldier Tir'd" from "Artaxerxes." The trill technique is a bit weak here. However, the combination of the large rich voice with coloratura technique is manifest well. This combination did make Sutherland a special talent.

From Bellini's "I Puritani," the delightful "Son vergin vezzosa." Unlike the previously discussed piece, her trills are Suthlerland-esque. Great agility in this piece. This is a wonderful version of the song; Sutherland hits the final high note right on.

Again, from "I Puritani," "Vien diletto." A terrific version, replete with well executed trills and all manner of ornamentation. Half a century later, this version still rates among the best of the past 50 years' worth of coloratura singing.

From Gounod's "Faust," "Ah! Je ris de me voir." A wonderful version. Good trills. Sutherland shows remarkable vocal agility, especially with as rich a voice as she had. Her voice moves smoothly from middle to higher range.

Another Gounod work, "Ah! Je veux vivre." What a start to this one! Some point out that her articulation was great in this CD, only to worsen in subsequent years. Maybe so, but her articulation still isn't among the greats in terms of that issue. Nonetheless, it hardly matters. The singing is ravishing. Some who try the coloratura repertoire do well, but show some thinness and harshness on high notes. Not so here with Sutherland.

Finally, the "Bell Song" from "Lakme." Great trills, good staccato singing. The final trill, run, and concluding high note are a wonder.

You want to hear the best of Sutherland? This 2 CD set surely would be one strong candidate for that designation.
November 17, 2007

Five *s, but a duplicate

This is a slimline 2 disc (from a 2 LP) album, but it is identical to the Prima Donna album that is unavailable on Amazon now (it may be available elsewhere), 2 discs in a conventional 2 disc jewel case and all in a cardboard box. Even the picture on the cover is different. It's one of the pictures of her on the cover of her full recording of Hoffmann, and it is in color. The songs, even the order of the songs, are identical. Except. I think this edition is a better sounding recording. On the older one, she sounds like she's singing in an echo chamber, particularly in The Soldier Tired. On this set, there's only the faintest vestige of that. I recommend this version. I alas have both. I thought they'd just given the same name to 2 different collections. I bought it from a very good Amazon seller (either Import CDs or Newbury Comics, I forget which), but still with postage it cost me $18. I don't have the money to go around buying old wine in new bottles and I consider this a rip-off. Anyway, after all these years, I loathe Callas and I'm getting tired of Sutherland. I passed out of dramatic operas and into bel canto long ago and feel no urge to go back, Devia and Gencer and Dessay and Mesple were wash-outs. Who else is there? Jo? She's coming out with a Baroque album in a few weeks, but I don't trust that word Baroque. Unless it's all Handel. And her voice isn't rich enough for Handel. November 4, 2007

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