Are there any recordings of Joan doing this in San Diego?

Omg the costumes and the staginf look Lit on those pictures!

La mejor interpretación.

Sutherland ,Simionato and Scala!... I adore! Thank you!!

THANK YOU!!!! Happy to have contributed with the pics! There were more taken in color than i thought. Now, they are paired with a wonderful sounding recording. Thank you again!!

My favorite 'Semiramide'

She's insane!! in a good way i mean haha!

thanks!

The last note MUST be a high note! Donizetti would approve!

25:16 1:51:06

I didn't know she transposed this early.

Review from Opera Magazine of the May 13 performance: " Marvellous as was Joan Sutherland's performance in 1959 (the performance that made her a star), it is no less marvellous that she should now repeat that performance with a radiance undimmed and unstaled. The superb evenness and breath control, the range, the poise in each note and phrase, the elegance in vocal decoration, the jewelled quality of tone - a!! are here. Especially touching is that moment in the Mad Scene when Lucy circulates - still singing - among the scattered, horrified guests, a nd the pathos of the voice comes forth un seen and 'hidden'. If only the rest of the performance could similarly recapture the old impact! But in Zeffirelli 's absence the production has gone limp. Even that crucial moment in which Edgar bursts into the wedding party came off tamely and without reaction. At this moment, too, Richard Bonynge's baton failed to impart the essential rhythmic bounce to the start of the Sextet. Dramatic tension was further eroded with a weak Henry Ashton in the person of Louis Quilico, who has a good top G but a general lack of force. He and Bonynge appeared at odds more than once. It might at least have been contrived that Henry and Lucy should agree on how long to sustain the final note of their Act 2 duet. Luciano Pavarotti proved himself master of Edgar's vocal line and compass and projected a certain dramatic importance, though it seems to have little to do with anyone el se. Heather Begg (Alice) and Kenneth Collins (Arthur) did well. But it was left to Gwynne HoweU to set, in beautifully phrased bass tones, a model of vocal style. This was a well-observed dramatic character, too: one felt distress in hardly knowing how to react to Lucy's madness. The ballet dancers had their fling (literally) at the party, but the male chorus in the opening scene was singularly weak. All this, however, is a frame for the central cameo. Joan Sutherland's triumph is the more effective because her first (unapplauded) appearance is deliberately muted - already seated as she is in the half-light. At the end of the opera, need it be said, she is feted by the audience as no other British artist save Fonteyn is feted on the Covent Garden stage. ARTHUR JACOBS

PROGRAM: SCHUMANN: 00:29 - Arabesque, op.18 08:39 - Novelleten op.21, n.2 15:40 - Novelleten op.21, n.7 19:10 - Novelleten op.21, n.8 FRACK: 33:55 - Prelude, Choral et Fugue CHOPIN: 57:15 - Mazurka op.68, n.2, in a minor 1:01:19 - Mazurka op.68, n.3, in f major 1:03:24 - Mazurka in a minor (1841) 1:07:48 - Mazurka op. 50, n.1, in g major 1:10:43 - Mazurka op. 50, n.2, in a flat major 1:14:58 - Mazurka op. 50, n.3, in c sharp minor 1:22:20 - Mazurka op. 63, n.1, in b major 1:24:52 - Mazurka op. 63, n.2, in f minor 1:27:21 - Mazurka op. 63, n.3, in c sharp minor 1:30:00 - Mazurka op. 68, n.4, in f minor ENCORES: 1:34:52 - Ravel: Le tombeau de Couperin, Toccata 1:39:06 - Chopin: Nocturne n.20, op. post., in c sharp minor

Joan was one singer that could reduce me to tears with such wonderful singing

A real treat to hear such great singing especially from the young Joan Sutherland!

Wow Madame Caballe !!

I Part 3:07 Bellini, I Capuleti e I Montecchi, obertura. 9:28 Offenbach, Les contes d'Hoffmann, duet "Belle nuit". M. Horne. & J. Sutherland. 13:42 Händel, Alcina, aria "Tornami a vagheggiar". J. Sutherland. 20:00 Händel, Semele, aria "Hence, Iris, Hence Away". M. Horne. 25:10 Verdi, La Traviata, aria "È strano... Ah fors'è lui". J. Sutherland. 34:53 Rossini, Semiramide, aria "Ah quel giorno ognor rammento". M. Horne. 43:52 Rossini, Semiramide, duet "Serbami ognor". M. Horne. & J. Sutherland. II Part 1:15:28 Delibes, Lakmé, duet "Viens Mallika... Sous le dôme épais". M. Horne. & J. Sutherland. 1:23:34 Stephen Foster, "Jeanie with the Light Brown Hair". M. Horne. 1:29:33 Franz Lehar, The Merry Widow, aria "Vilia" (in English). J. Sutherland. 1:37:43 Saint-Säens, Samon et Dalila, aria "Mon coeur s'ouvre a ta voix". M. Horne. 1:45:57 Donizetti, Lucia di Lammermoor, aria "Regnava nel silenzio... Quando rapito in estasi". J. Sutherland. 1:55:46 Bellini, Norma, duet "Mira, o Norma". M. Horne. & J. Sutherland. Encores 2:07:17 Rossini, L'italiana in Algeri, aria "Cruda sorte, amor tiranno!". M. Horne. 2:13:30 Gounod, Mireille, aria "O légère hirondelle". J. Sutherland. 2:18:54 Rossini, Semiramide, duet "Giorno d'orrore". J. Sutherland & M. Horne.

Certainly 1985 was her "Indian Summer" year. Her Lucias at Covent Garden were fantastic. I heard her final Anna Bolenas in London in 1987 and it was a bit too late. Although at the final performance after a very tentative performance, she pulled out all the stops for the final cabaletta and ended in a blaze of glory.

2:16:44

Sin ninguna duda el mejor pianista en lo transcurrido de este siglo.

Great .. 💯💯💯🙏👍

💯👍🙏

Please I Putitani 1957 Filippeschi, Zeani, Protti 🙏🙏🙏

Thanks so much for posting. One can hear Sutherland's voice in pristine condition. Interestingly she doesn't essay all of the high notes to be be found on her commercial recording and the few other live performances she gave. For me, this is my favourite Bellini role she revived.

Fantastic!

thank you! glorious singing all around

Wow! Bless and Thank you!

Cuando la dirigía otro que no fuera su marido cantaba mejor. Sobre todo con los italianos.

THANK YOU!!!! Certainly much better than my source!

In her autobiography, Sutherland writes that she was having trouble with her knees at this time so she asked Bonisolli to help her up again when she had to kneel. "He usually forgot", she adds drily.

Are you sure the pitch is correct? It seems a bit lower than in the other recordings.

She get E6？！

Horribile

thanks...

What a excellent performance！Thank you for sharing this！But may I ask where can we here the broadcast performance？

I’ve been waiting for this for years!!! Thank you!

TODA UNA RAREZA! Konya, Tucker & Gedda en una misma noche con LA STUPENDA en un verdadero tour de force!!! Gracias por compartirlo. Saludos desde Buenos Aires.

Raina is quite wonderful as well

I think this is one of her greatest roles ever, and also one of her best studio recordings ever, she's just perfect in this role. It's sad she dropped it so early from her repertoire, it would have been interesting hearing her mature version of this in the 70's. Thank you so much for this treasure 🙏

Lord, have Mercy! Thank you!!!!

Truly one of my favorite operas, especially that of Bellini's.

❤❤❤❤

THANK YOU!!!!! Compared to the CDs, this recording sounds MUCH better. As always, I'm happy to have contributed with the photos!!! Maybe post the 1962 Naples Beatrice next? The one I've heard has CD skips from a horrible transfer done years and years ago.

I think Joan Sutherland and Beverly Sills are the only two coloratura sopranos who could sing intricate rapid fire coloratura ornaments and sing them clearly. Of the the two Sutherland had better trills

I have a question. Can her live voice fill the Metropolitan Opera？

Joan singing for her Mum.

A little Disappointed Dance of the Hours didn’t have any alligators and hippos but the rest was great.

Wonderful! Thank you!

Bеликолепная Белла

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