Joan Sutherland Last High Notes (1981 - 1988)

Compilation with Joan's High C's, D's and Eb's through her last years on stage.
It's important to say that her higher register, in all notes, still huge, clear and powerful independent her age. An achievement that not all opera singers could do.
"My voice was obviously God given and I have tried to given of myself honestly"
Joan Sutherland

[@magicmonkichi]

'young' or 'old' Sutherland

[@christiaandhooghe]

She sounded so warm and rich in her later years, and you hear a voice that had a great technique.

[@linnaeusshecut3959]

A friend of mine who sings opera said many young sopranos wish they had at least the high notes Sutherland had in her later years.

[@cadoh8143]

Great!!!! Forever my favorite singer. Love high notes.

[@angelus2002]

It amuses me that these high notes were from towards the end of her career. Most sopranos would kill for them at the beginning of their careers.

[@luismanuel-tena]

David Campbell You are damn right !!!! 👍🏻

[@crazyorganist1609]

Damn right

[@timkipling5188]

Totally agree

[@brookeggleston9314]

I recently saw a video ranking soprano high C's. Dame Joan was ranked 1st, Leontyne Price 2nd. The high C used to rank Miss 'Tyne was from her farewell performance, in *O Patria mia,* but wasn't even her best from that aria!!! It should be noted that, in her younger days, Miss 'Tyne had a solid E *natural!!!* 🔥💜🔥

[@gayoperadude63]

Leontyne Price sang a trill to a high E at the end of Caro Nome. She was well I'm her 50s.

[@johnburnham-clarke1839]

I have live stuff of Joan from 1958 or so up to the last Normas; Lucia and Lucrezia Borgia. Anyone to hear them, just let me know. Joan was quite simply the GREATEST.

[@platinumemeralds8079]

John Burnham-Clarke yes please share!!

[@LaDivinaLover]

I’d love to hear the stuff from ‘58 to ‘64 especially.

[@panaceiasuberes6464]

Going up and down so freely, with no ladder notes to guide her in any direction is really the trademark of Joan's repertoire. No one ever could deliver the overture of the aria Óu va la Jeune Indoue in such a pure state.

[@giuseppedisilva3534]

With Joan, it was not just a question of high notes. When I heard her in concert in Boston in 1987, her greatest ease was in the high tessitura of the Mad Scene from Thomas' Hamlet - as opposed to the more dramatic, more middle register oriented arias from Norma, etc. She was a high coloratura by nature, even at the end - despite the great size of the voice. A big mistake, though, was for her to do her Australian farewell in Les Huguenots, a role she could no longer manage, and high notes and other things were off. It was a rare lapse for her and her otherwise brilliant advisor, Bonynge. Everyone is human.

[@ThomasDawkins88]

I think the idea that was while Marguerite is the "prima donna" role, she only really has to sing in one act and then has the rest of the evening off. It wasn't a great night for her. The biggest difference between young Sutherland and older Sutherland is that when she was young she had good nights and spectacular nights, when older she had good nights and fair nights. Even Bonynge admitted that after about 1985. But what do you expect from a coloratura soprano around 60?

[@deyanncrete8030]

Still this huge projection and brightness even in the 80's... The high E is quite impressive

[@operalover42]

The Best !

[@Rodrigo-rx3nf]

UNICA! MERAVIGLIOSA

[@nwdixieboy]

She sang a little higher in the early part of her career but I think her high notes to me were more spectacular in her 50s until her early 60s

[@1900trent]

Surely astonishing how she reached and held those astronomic high notes for decades and could maintain them at such a velocity. Like meteors flying towards the earth, but in la Stupenda’s case, flying up and out into the stratosphere. No one comes close to her in the world of opera this century. I had the privilege of being at one of her performances and will never ever forget.

[@user-gt7xs1fc6g]

I heard her Anna Bolena live when she performed it at the Lyric Opera of Chicago [the performance in this collection] and when that last long note of the Mad Scene blasted out into the huge auditorium of the Lyric one could believe that no one would ever match her singing of Bolena.

[@karlakonka1320]

Greatest❤❤❤

[@uliwidmaier5192]

There is such warmth and spaciousness in these notes, even in '88. And just to say it, all the notes recorded here (what an awesome recording, by the way -- thank you for putting it together!!!) are vastly superior to anything anyone else has delivered since. Overall, regardless of era, who is in that league when it comes to awesome top notes? Callas in her prime, Nilsson. But who else? Tetrazzini?

[@manolis.799]

Very good video. Well done

[@JoanBette]

Great post! The high “D” was certainly her money note! Even better than her high “C”.

[@giuseppedisilva3534]

She had a fantastic high F! But refused to sing it publicly.

[@eloyguevara9447]

el sonido de su voz.........es aparte de incomparable....................e de personalidad tecnica.... .y... poderio.....con una personalidad.............tan impactante como su fuerza dramatica...aniquiladora............BELLISIMA FORMA DE EJECUCION APLASTANTE.................

[@jorgevergarabieberbach3679]

La mejor exponente del Bel canto, sin duda, al menos mi preferida !!!!!!!!

[@luisrossetto5247]

My God! The Last Eb6 sounded dramatic like Callas's notes. It made me chills. Stupenda!!!!

[@MrStpendouslvforjo]

This was a GREAT video! Thank you for posting this! I think the 1985 London Lucia was recorded a tad "high" . But what a great collection! I especially liked the Eflat from Esclarmonde - I've been looking for that one for YEARS! Thank you!

[@JoanSutherlandFan]

Oh yes, another comment brings the possibility of the sound has been "speed up" in her 1985 Lucia, by the way, I can not do anything if some labels uses this resourse.

[@marylambcarter]

yes its higher the recording

[@JavierGonzalez-qe8zm]

@@JoanSutherlandFan Hi, that LUCIA, FROM 1985 IN LONDON, WHERE COULD YOU GET IT ?? THX :-)

[@burtcollins239]

Giacomo Aragall is also awesome in Esclaramonde.. Joan stated he was her favorite tenor to sing with

[@vanmusician]

Some of those notes marked as E flats are actually D's - the recordings are sharp.

[@JoanSutherlandFan]

Yes! I need to correct them...

[@davidallen508]

As far as I’m concerned, Dame Joan delivered the goods right up to the very end.I still listen to her most days ; no other soprano compares.

[@marcocampus7943]

Voce intatta fino alla fine. Stupenda.

[@ransomcoates546]

She seems to have sung various of these bits in different keys, which was commonly done in bel canto operas, and still is. I think she might have given up the E natural a little earlier, however.

[@bellini7verdi]

LO MAXIMO...EN TODOS LOS SENTIDOS......................

[@ffrr7013]

bellini verdi Has escuchado a Yma Sumac?

[@cesarthomas6613]

@@ffrr7013 Ud escucho a la Sumac en Opera??? no opinaria lo mismo.....

[@luismanuel-tena]

Sutherland + Kraus= Opera art at its BEST

[@brunoantony3218]

She drowns Kraus in 1982 😱

[@magicmonkichi]

I had NO IDEA that Kraus hit the high note in the Borgia aria for the longest time! But if you listen REALLY close...you can hear it! hehe

[@brunoantony3218]

magicmonkichi that's Lucia, not Lucrezia.

[@pelleas9]

A lot of mistakes in the identification of notes between D,E flat and E.

[@para321mt]

How can a High C vary in pitch? Doesn't make sense!

[@parfumextraitfan7453]

There’s more than one C You have C natural Then you have one half step higher which doubles as C sharp (C#) or D Flat (Db)😊

[@zakharykornevydlo8372]

такі голоси й такі жінкі зустрічаються один раз на століття.далі без коментарів.

[@MsNavimor]

Дурость! Бред! Всё выдрано, надёргано, нахер нужна эта псевдо-олимпиада кто выше? Минус! диз!