Joan Sutherland Concert in Amsterdam (Feb. 1962)

The story behind this concert:
"During a charity concert in Antwerp (Feb. 23) Joan slipped on the polish floor and save from falling, but in doing so badly jarred her back. She had an agonizing train journey to Amsterdam and a sleepless night. A doctor was called and gave her injections. But it afforded only passing relief and during rehearsal, taking a deep breath to reach a high note, the pain caused was so severe that Sutherland collapsed and was led away in tears. A doctor laced her into a maternity binder and she adjusted her breathing and took only little breaths. When the concert was over she received a tremendous ovation". "The press later launched the news after a tour cancellation 'Sutherland crippled' ".
00:00 - Alcina: Ah! Ruggiero crudel... Ombre pallide, lo so, mi udite;
06:53 - Lucia di Lammermoor: Il dolce suono... Ardon gli incensi;
17:28 - Lucia di Lammermoor: Spargi d'amaro pianto;
20:57 - Lucia di Lammermoor: Spargi d'amaro pianto (Encore);
24:19 - I Puritani: Son vergin vezzosa;
27:24 - La Traviata: È strano!... Ah, fors'è lui... Sempre libera;
*Ettore Babini, tenor
Omroep Orchestra and Omroep Chorus
Conductor, Alberto Erede
Amsterdam, February 25, 1962

[@JoanSutherlandFan]

*Additional information* According to 'Maestro' which wrote to me, there are another information with a complete setlist to the concert. Amsterdam, 25 Feb 1962 AVRO - Omroeporkest, Fulvio Vernizzi Ouverture; E il ciel sereno; Ombre pallide, lo so, mi udite; O pastorelle addio; Act 2; È strano!... Sempre libera; Voorspel; Son vergin vezzosa; Gli aranci olezzano; Il dolce suono... Ardon gli incensi... Spargi d'amaro pianto; Ouverture Act 3. *Which is correct? Do you know? Comment ;)*

[@LC-ig2jm]

What happened to your post of Sutherland's live recording of Lucia? You said it was your favorite version of Sutherland singing her role And I agree.

[@tjpark8609]

She had the best voice throughout all the centuries !!! I miss her.

[@tyxikosgatpopoulos4004]

She was not only the voice of the century. She was the voice of ALL centuries. I saw her in person as a young man and nothing I have seen or heard before or since can compare.

[@davidallen508]

You are a lucky man and I echo your every word ; Pavarotti and Domingo said as much and they would know.

[@rakellcolotta3675]

It’s hard to understand that kind of heroic courage. She didn’t short change the audience; she sang every high note and all in between gorgeously.

[@ryan.engstrom]

Dame Joan is one of the most inspirational figures to me. Thank you for the story and recording a of such incredible singing.

[@JoanSutherlandFan]

*Joan is such a down to earth human. Thanks to her anti prima donna temperament, the Dutch could experienced her stage presence and voice, even in that situation.*

[@eduardobraivein8496]

The doctor was present at the concert. The train trip was an agonizing nightmare because she could neither sit nor stand and was in pain all the time. The maternity binder she was strapped in was extremely cumbersome and difficult to get into and out of; besides, it forced to alter her breathing a little but in spite of this ordeal she sang magnificently as this live recording can attest.

[@arnoldamaral7406]

Vini Soaris INDEED my friend, TY FOR POSTING. SINCERELY ARNOLD BOURBON AMARAL 👴🇪🇸🇬🇧🇪🇸🇺🇸

[@Ruffiello]

Thanks to her personal character and a wonderful technique she was able to sing this well!

[@Eiswirth1]

As Dame Kiri te Kanawa said, "Lots of other sopranos could sing this repertoire, but no one ever sang it like she did."

[@theon9575]

Mmmm ... Yes. But the trouble is Sutherland made the other sopranos sound like they couldn't 😂 . I'm reminded of a critic's comment on Sutherland's Christmas Carol album when it was released in late 1960s: "Miss Sutherland makes Christmas carols sound like they are impossible for us mere mortals to sing." Seasonal wishes 😁🎄👍🏻

[@jimbuxton2187]

Her technique was so perfect she could sing even after all that she went through. Amazing...but she always was.

[@Hako2004]

Glorious and astonishing, so typical of young Sutherland. Thank you very much for sharing this with her fans Vinicius!

[@barbaranorthwood]

Her back problems are well documented. Although she was able to perform most realistic falls, they took their toll over the years. However, professional to the last, she always went on despite the pain.

[@herrbrucvald6376]

Sutherland in 1962 is the eternal, and staggering, standard for this repertory. full stop.

[@ktrewin23]

What a time to be alive! Such singing! Thank you for uploading this for us to hear and enjoy.

[@rugby8-Philadelphia]

Freakin Outrageously Wonderful!!! 😎😎😎

[@photo161]

She is really in magnificent voice here, singing arias I have heard her sing dozens of times elsewhere through the years, but never quite as well as she does here. A truly spectacular display of vocal excellence in this epochal concert.

[@kiwikjk]

And how her audience responded!

[@MrStpendouslvforjo]

She was really something - especially in 1962!

[@will8026]

It's worth pointing out that the solo flute part in the LUCIA aria is being played by a legend, Hubert Bahrwasser, who's tone is unmistakable.

[@josephhapp9]

Thank you for the background story. I heard about the back problem but didn't know the details. I understand how debilitating an injury like this can be. When it happened to me at age 30, playing piano for longer than 5 minutes was impossible. Fortunately I concentrated on singing and discovered Yoga and Relaxation Techniques. Now at age 66 I feel younger than 30 and piano and singing are better than ever. Joan is an inspiration.

[@65attila]

This concert is phenomenal even by Joan's remarkable standards.

[@highbaritone]

Thank you for your posts. I don’t comment a lot, but read others. I have made comment before that I have never met or worked with either of that did not have the highest respect for them. As a young singer I was in awe of the sound and the brilliance that was Sutherland. It was Bonynge that created that. Of course Joan would want to work with him. They learned the works together. Bonynge was a total support to singers, and you worked hard under him. I agree with everything you say, and again thank you for your work posting them all

[@DrDarylBarclay]

Even Joan's '"little breaths" are enough to support that incredible voice and thrust out a massive sound.

[@nwdixieboy]

I love this photo of her. What a handsome woman she is here. You can see how she was extraordinarily blessed by nature with a body that was suited to be a vocal freak: the strong bones in her face, the long but very, very thick neck, and a huge natural chest cavity even when she was not overweight. Photos from this period show she had a normal waistline. The sound on this recording is extraordinary.

[@ktrewin23]

I agree entirely; she strikes me as something of a Pre-Raphaelite goddess here. I think she's so distinctly beautiful.

[@miffy1950]

Stunning!

[@jondavwal13]

This is the first audio I’ve ever heard that sounds somewhat like what she sounded like live.

[@theon9575]

In large part due to the special acoustics of Het Concertbebouw for which it is renowned. Hear also, for example, Ferrier and Callas recorded live in the same venue with the same effect. Beautiful, natural resonances in the Concertgebouw show voices most naturally. Sutherland's many studio recordings lack this life in the recorded vocal sound. I'm one of many geriatric fanatics who heard Sutherland live often, and you will always hear them say: the recordings are fantastic, but no way as exciting as she was live. No studio recording reflects how that HUGE voice soared over the pit to fill the house and dominate. This Concertgebouw recording comes close.

[@richardholmesmusic2128]

@@theon9575 The Concertgebouw is truly one of the best concert halls anywhere. Not only are the building and the hall very beautiful, but the acoustics are superb. Clear but not dry, grandiose but not echo-y. As a visitor, it’s one of the many gems of Amsterdam.

[@randysills4418]

I agree! There was nothing like hearing Dame Joan live with the high notes soaring over the orchestra! The voice was very large and so thrilling!

[@MrStpendouslvforjo]

What an incredible technique! What an astounding VOICE!

[@mirceailonas9081]

Sutherland, a lady who overcame perfection.

[@cliffgaither]

_Dear God ! When her voice was magnificent !_

[@debbiewoodburn6786]

Wow! Wow! Wow!

[@jameshknight8804]

& wow, again.

[@highbaritone]

Thank you so much.

[@dodotassi]

GRAZIE ----BELLISSIMO

[@gerardmignon700]

Quelle voix sublime.

[@debbiewoodburn6786]

Simply extraordinary singing.

[@williammaddox3339]

Thanks - another great discovery

[@debbiewoodburn6786]

Thank you, Vinicius. I love the glorious singing and the "explanation" that accompanied your post.

[@JoanSutherlandFan]

*Sometimes these explanations give us a brief understanding about what we are listening ;)*

[@debbiewoodburn6786]

Vinicius Soaris, I like to know as much as I can. As you say, it makes a difference to what you are hearing and listening to. Much appreciated.

[@SR-jx8yu]

Is the flute cadenza she sang in the mad scene her own adaptation of the more commonly sung cadenza? I have never heard any other soprano sing the cadenza this way.

[@arnoldamaral7406]

S R And u never will again My friend. Arnold Bourbon Amaral

[@Tkimba2]

It's not her own. I've heard a very old recording on KZbin with a soprano singing it but can't remember her name

[@DucDeE]

My response to this question might be a little late, but anyway: the cadenza Sutherland sang was originally written by Nelly Melba's teacher Mathilde Marchesi for a Lucia production at the Opéra Garnier in 1889! Mathilde Marchesi wrote 3 Cadenzas in total and most sopranos chose one of the three and added their own variations to it. In 1921 soprano Ada Sari added the reminiscence motif of the duet "Verranno a te, sull'aure" in the middle part. So Sutherland basically sung Nelly Melba's cadenza with the addition of the duet motif and her own variations!

[@XlikeZero]

Your channel is a gem

[@cadoh8143]

Obrigado Vinicius pelos áudios, raros, que eu não conhecia.Imagino quantas histórias mais deve haver na vida de cantores que tem que viajar muito e manter sua agenda. Tenho vários livros sobre ela, mas não me recordava desta história

[@arnoldamaral7406]

rblusc Oblegado ameci, Arnold Bourbon Amaral 1820 in 🇺🇸🇬🇧🇪🇸🇫🇷👴

[@bellini7verdi]

esta mujer es irresistible......................jamas volvera .a exponerse la voz humana como esta señora lo ha hecho...............y si no tiempo al tiempo.....de momento.....................hace mas de 100 años que una voz como esta no ha existido...hasta el dia de hoy............ES UNA LEONA............................TOTALLLLLLLLLLLLLL

[@bellini7verdi]

alucinante.........................................

[@linnaeusshecut3959]

Why hasn't the MET "Don Giovanni" with Sutherland as Donna Anna been released. It was televised in 1980! Video tapes decompose and need to be digitally transferred quickly.

[@williammaddox3339]

Actually 1978

[@linnaeusshecut3959]

@@williammaddox3339 Thanks. Can you provide any additional information?

[@raularango5973]

Nunca escuché a María Callas hablar acerca de Joan Sutherland. Compartían época. Y se que Callas era muy pura y refinada. De una belleza rara en su rostro y más aún en su voz. Muy disciplinada y gran músico. Mientras que Sutherland con su voz bellísima estuvo siempre al lado de su marido el gran maestro Boningé.

[@Tevyeh613]

Her enunciation is pretty good here. And she sounds generally lovely! My issue is that I just don't hear tonal variation or colour to convey introspection - any more than I hear any change for joy. It all sounds exactly the same - whatever the emotion. She never ever moves me. Amazes me with the acute, maybe. But move me? Sorry, she just doesn't.

[@coloraturaElise]

What about at 2:58 in the recit, to name just one spot?

[@giudiciadanna4550]

Forse il suo concerto dal vivo piu' bello.

[@bellini7verdi]

QUE EL PLANETA................ENTERO LA ESCUCHE..........Y QUE JAMAS SE LA OLVIDE.................ES ALGO INUSUAL........EN EL ARTE DEL CANTO.............PUES EN ELLA........TODOS LOS ASTROS SE JUNTARON PARA FAVORECER....................EL SONIDO DE SU VOZ.....INIGUALABLE.....................................

[@renaissanceinblack]

Who is that guy sitting in the background?

[@bellini7verdi]

UNA PASADA.....................................

[@wilsonwatt9283]

People often talk about her difficulty with language, with sometimes sagging tempi, and with being undramatic/unemotional in her singing. If you follow her early career carefully none of these things were true. They only began to be an issue when she was more and more accompanied by Bonynge, a mediocre conductor who married a meal ticket. Even later, she is always better when singing with a different conductor [the Turandot for example]. Bonynge as a repetiteur certainly helped her find the incredibly special niche [a true dramatic coloratura] that she filled but she might have been even more historically important had she sung with better conductors across her career.

[@Tkimba2]

Wilson Watt I also wish she had sung more dramatic, non coloratura, roles, like Otello, but in her prime.

[@JoanSutherlandFan]

Wilson Watt I agree. But the past can not be changed. Her career was *stupendous* from the begining to the end. In other hand, thanks to Richard, Joan performed and recorded some works in your totality as Lucia, Il Trovatore, Rigoletto, I Puritani...

[@robertc2093]

What a vile person you must be.

[@barbaranorthwood]

Robert Cheney Not vile, but uninformed like most of the Bonynge bashers. Probably not long out of the cradle. Bonynge discovered his wife's unique range and found long ignored music and composers to enhance her repetoire. He was destined to be a concert pianist but owing to his dedication to his wife's subsequent fame he sacrificed his solo career. I often try to explain this to correspondents, but sadly to little effect. The prejudiced never listen. "A Meal Ticket?" They lived on the bread line in the early days.

[@williammaddox3339]

Tomba - She did sing Otello in her prime in the late 50's in London and it was a big success.