I Puritani 1985 Sydney (Sutherland, Austin, Lewis, Shanks, Gunn - Bonynge)
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- Опубліковано 22 лют 2018
- I Puritani - Bellini
Sydney Opera House
Australian Opera
June/July, 1985
Elvira..................Joan Sutherland
Arturo Talbot.....Anson Austin
Riccardo............Michael Lewis
Giorgio...............Donald Shanks
Enrichetta..........Rosemary Gunn
Conductor..........Richard Bonynge
Orchestra and Chorus of The Australian Opera
![Joan Sutherland's MET Debut - Lucia Act I Cabaletta (26/11/1961) [Remastered Sound]](http://i.ytimg.com/vi/yiZmdp7KRhg/mqdefault.jpg)
![Joan Sutherland's MET Debut - Lucia Act I Cabaletta (26/11/1961) [Remastered Sound]](/img/tr.png)
Great Maestro Anson Austin!!!!A wonderful voice of tenor!!!!❤❤❤❤❤
I heard Sutherland sing Puritani at the Met about this time. I assure you the voice was absolutely spectacular...a memory still so vivid, I will never forget...
Dame Joan was the best there was or will be. So thankful she came along in my lifetime. And Bonynge was a genius. So very much underrated. In my opinion, her voice became more beautiful as she aged. She was so nice in person. Had the opportunity to meet her several times and she responded to a letter I once wrote to her. A true "lady" who I found quite beautiful.
Dame Joan was my first exposure to opera, and my idol, along with Richard. I sadly never got to meet Dame Joan, but I met Richard and got him to sign some programs for me. My brain fell out when I met him, and I could barely speak, but I managed to thank him for all his work.
I had the great pleasure to meet Dame Joan and Richard many times, I met her back stage at the Met after her performance of Puritani in 1986. My home in the UK is Sutherland House. Had a lovely card from Richard at Chalet Monet after I sent him greetings on his 90th birthday last year. Opera was never the same for me after her retirement. RIP Dame Joan.
60 anni...nessuno ha mai cantato così a 60 anni.
aveva 59 anni....ed era ancora magnifica stupenda grande.
Beh, si strombazza tanto la Devia per longevita' e tecnica...questa e' meglio sempre, era magica, evocativa. Assieme alla Callas due padreterne. Ascoltate, ascoltate.
She was so good for someone almost 60. I can't blame her for transposing the cabaletta of the mad scene a whole step.
Dame Joan definitely needed to transpose downwards by this time, and it's no disgrace. She was nearing sixty and those fabled top E flats just weren't there anymore. She was still amazing and I consider it a blessing that she still could deliver a performance in such a grand fashion. Australia's greatest gift to opera.
@@Zva26 The Eb was getting tough to reach. But the transposition was about more than just the Eb, which she was still singing in 1986. It's having the energy and strength to get all the way through a long role. Singing in a lower tessitura reduces the energy expended... sustaining the Eb eats up a lot of energy too. As it was, Dame Joan had many high D's to sing on this evening.
I LOVED Joan. I miss her so much. She will always be the best
I saw Sutherland in Puritani here in New York (1987, I believe), and she sang even better than in this Australia performance. You can just imagine the ovations she inspired.
I flew to New York to see her in Puritani too, thought it was December 1986, but might be wrong, a stunning performance.
I was at this performance and have never forgotten it. The production was proclaimed as a low budget version owing to financial constraints at the time, and there was quite some controversy about it. But none of that made any impact on the experience of hearing La Stupenda in this role, which she sang with unique technical precision and significantly successful emotion.
Gorgeous from Sutherland as always. A glorious memory of her around the time of her last Lucias at Covent Garden. Quite miraculous that she could deliver this level of excellence at 58! Would that we had a soprano of even half her capability today! This recording gives a little impression of the size and luminosity of the voice.
I was there in London, 1985, my greatest memories… I’ll never, have never, forgotten that transcendental experience… the three greatest performances ( Lucia) that I’ve ever seen, experienced… of any kind, in opera, concert, recital… I expected to be disappointed, but no, the opposite,,!mind blowing singing, presence
Awe-inspiring singing from Joan! Thank goodness we have this lovely albeit technologically crude document of her in one of her greatest roles. She was from another galaxy!
My teacher Michael Lewis showed me this yesterday after working on Riccardo’s aria (about 15 minutes in). He is the baritone in this recording. Aside from refining my vowel colour and improving my dynamic variety, he also exhorted me to further understand the emotion of the piece. What a treat to hear him do just that in his prime.
Bravissima Sutherland and Austin. What Sutherland did with 59 the actual sopranos never dream to do. And cannot do!!!!!Bonynge an expert as always!!!!
sin duda la mas grande cantante y artista y ser humano de todos los tiempos......................
A Lost Treasure from the Golden Age of Opera!!!!
Very granny picture, combine with a dark stage. However the singing and the music is good.
The lovely Dame Joan Sutherland as Elvira Walton, soprano/colaratura soprano.
Anson Austin, great tenor as Lord ArturoTalbot. Poetic bell canto arias and emotional duets are abundant in this famous opus by the beloved Bellini.
Conductor: Richard Bonynge; Sidney 1985.
(No subtitles).
It was taken from a well worn VHS tape. Sadly the videotape was used to record major performances in the 80's, instead of film. Amazing it works at all as so many videos didn't last.
This is the first time that I have heard Anson Austin. He did an excellent job!! HIs top notes are placed in the same manner as Eugene Conley. What a pleasant find. Too bad I cannot find a biography on Austin on the Internet. Thank you for posting.
Thanks so much for posting so much of Marvellous Dame Joan's rare material.. and for all the rest of your posts too!!! They are essential for us opera lovers to listen to and most times, discover great singers we had only read or heard about
Une grande qualité vocale de l'ensemble...superbe.
画像は幻みたいにしか、見えませんでしたが、素晴らしい歌劇はしっかと、心に響き、届き、打たれました。感謝。
The matching D6s of both singers is stunning.
Thank you so much for posting this!!! Joan had such an interesting voice by this point...So big , dark and opulent.
The "Son Vergin Vezzosa "was fascinating...all the scales were executed perfectly...the flights to High D were almost unbelievable....she was nearly 60 here...I don't know how she did it....stupendous really describes her.
She did it by knowing her rep (forwards, backwards & up-side down!) & sticking to it! She also had the great good fortune to have a partner whose sole purpose was to assist her in maintaining her vocal instrument & artistry. Critics sell Mr. Bonynge sort all the time! He was a genius in his own right and her longevity is partly his doing. One can only imagine if Ms. Sutherland would have had to deal with the hack conductors that field the territory nowadays! Truly a match made in Heaven and to the benefit of all who got to hear her LIVE and those today that can enjoy her many spectacular & historical performances via UA-cam!
I couldn't agree more .
Everything you wrote about the two of them is true.
The only thing I could add is that , for Joan , how much it helped to have Bonynge handling everything so that she could stay relaxed and focused on her technique....and the discipline she had .
She was a marvel.
No Prima Donna antics for her!
She was a lovely , NORMAL person.
I think I like her "older" voice the most.
It's interesting how her voice was at the beginning - and how it evolved.
(But that's another huge subject in itself)😀
+george prentice You and I and MASMusic seem to be the only people prepared to give Richard Bonynge his due. Before he met Dame Joan he was destined to be a concert pianist. If his path had taken a different turn he would probably been a performer/conductor like Daniel Barenboim. As it was he researched the musical archives to discover long lost material to enhance his wife's career. He was her constant support. If he was such a rubbish conductor as many assert, is it likely that the great opera houses would have allowed him in the pit and the musicians agree to play under him?
They were a team! The producers were told "You want La Stupenda, then you have to take her Comrade in Arms." And of course, producers thinking they are God, do not want to be told anything! Likewise, the so-called critics are in the producer's back pockets! Nothing but packs of hyenas! Maestro Bonynge is a genius. He did more for the World of Opera than any other conductor in the 20th Century. It's all out there now for everyone to see for themselves.
@@barbaranorthwood Richard Bonynge, with the help of his prima donna wife, is single-handedly responsible for re-introducing and re-invigorating major operatic works for post-modern consumption. the value of works as diverse as Handel's "Alcina," Massenet's "Esclarmonde," Rossini''s "Semiramide" and even Bellini's "I Puritani" were all reconsidered as a result of the high level the Bonynge's were able to achieve in this repertoire over the course of two decades. Also, his expertise in 19th century vocal ornamentation created an indelible stamp on the bel canto repertoire going forward to this very day. Callas and the Bonynges redefined and reasserted the bel canto repertoire for the post-war era. We owe them all a great debt.
Thanks Mr. Q. ;) It's a joy to watch Dame Joan.
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Amazing!
Thank you thank you so much for having posted this performance,
From Santiago Of Chile
July 2018
South America
Thank you very much for this.
Fresh vocie At that age!! How????
why all the cuts to the music....
Several reasons. The Australian Opera was a repertoire company where even the youngest chorus member was on full superannuation, overtime and every other union benefit, virtually a public servant. Performances usually began at 7:30, and with the difficulty of changing scene in the Sydney Opera House, if the performance went past 11:00 at night, overtime kicked in and the company would have been bankrupted! Australian Opera has always worked on one of the lowest government subsidies in the world and depends on box office heavily. Plus Australian audiences get a bit fidgety if it all bangs on a bit too much!