Although I love Sutherland's work in her usual repertoire, this makes me feel that there was a great loss in her specializing so much in those bel canto operas. For example, this makes me wonder what she could have done with Magda in Menotti's The Consul, especially the great scena To This We've Come. I know that we are lucky to have had what she did with her 40 years but one can always wish.
She’s certainly earned the right to her opinion, but I’ve seen some modern dress productions that were marvelous. If the director adheres to the spirit of the piece, the sets and costumes can represent any period. And I saw the Met Angelica production she was referring to, the one eventually taped with Renata Scotto. Surely one of the greatest performances on the Met stage. Scotto (and Strata’s) made you believe in those lights; one didn’t need a statue of Mary or a little tyke in a suit.
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The beauty of Joan' s voice here brings tears to my eyes. I love the pairing of her comments with the aria. Thank you.
Sutherland and Puccini together are magic. Her Turandot is also incredible.
Gobbi wanted to do Tosca with her.
Although I love Sutherland's work in her usual repertoire, this makes me feel that there was a great loss in her specializing so much in those bel canto operas. For example, this makes me wonder what she could have done with Magda in Menotti's The Consul, especially the great scena To This We've Come. I know that we are lucky to have had what she did with her 40 years but one can always wish.
She sings Suor Angelica beautifully.
She’s certainly earned the right to her opinion, but I’ve seen some modern dress productions that were marvelous. If the director adheres to the spirit of the piece, the sets and costumes can represent any period.
And I saw the Met Angelica production she was referring to, the one eventually taped with Renata Scotto. Surely one of the greatest performances on the Met stage. Scotto (and Strata’s) made you believe in those lights; one didn’t need a statue of Mary or a little tyke in a suit.