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Originally bright and youthful-sounding, her voice darkened as she transformed herself into a coloratura. There is a suggestion of Callas' famous middle register in Sutherland's vocal center—a tone that sounds as if the singer were singing into the neck of a resonant bottle. Today the Sutherland voice towers like a natural wonder, unique as Niagara or Mount Everest. Sills' voice is made of more ordinary stuff; what she shares with Callas is an abandon in hurling herself into fiery emotional music and a willingness to sacrifice vocal beauty for dramatic effect. Sutherland deals in vocal velvet, Sills in emotional dynamite. Sutherland's voice is much larger, but its plush monochrome robs it of carrying power in dramatic moments. Sills' multicolored voice, though smaller, projects better and has a cutting edge that can slice through the largest orchestra and chorus. Sometimes, indeed, it verges on shrillness. [...] In slow, legato music, Sills has a superior sense of rhythm and clean attack to keep things moving; Sutherland's more flaccid beat and her style of gliding from note to note often turn song into somnolence. Sills' diction in English, French and Italian is superb; Sutherland's vocal placement produces mushy diction in any language, but makes possible an even more seamless beauty of tone than is available to Sills.[32]
Describing Sutherland's voice, John Yohalem writes:
On my personal color scale, which runs from a voluptuous red (Tebaldi) or blood-orange (Leontyne Price) or purple (Caballé) or red-purple (Troyanos) to white-hot (Rysanek) or runny yellow-green (Sills), Sutherland is among the "blue" sopranos – which has nothing to do with "blues" in the pop sense of the term. (Ella Fitzgerald had a blue voice, but Billie Holiday had a blues voice, which is very different.) Diana Damrau is blue. Mirella Freni is blue-ish. Karita Mattila is ice blue. Régine Crespin was deep blue shading to violet. Sutherland was true blue (like the Garter ribbon). There is a coolness here that can take on the passion in the music but does not inject passion where the music lacks it, could possibly use it.[29]
[edit]Vocal category, size and range
Although she is generally described as a dramatic coloratura soprano, "categorizing Sutherland's voice has always been extremely difficult, both the size and the sound present definitional problems [...] Aside from singing some roles popular amongst coloratura sopranos, Sutherland’s voice could not be more different."[2]
In a 1961 profile in The New York Times Magazine, Sutherland said she initially had "a big rather wild voice" that was not heavy enough for Wagner, although she did not realize this until she heard "Wagner sung as it should be."[33]
Regarding the size of Sutherland's voice, Opera Britannia praise "a voice of truly heroic dimensions singing bel canto. It is doubtful if any soprano in this repertoire has fielded quite so much power and tone as Dame Joan, and this includes Callas and Tetrazzini. The contrast with other sopranos who sing the same roles is appropriately enough stupendous, with rival prima donnas producing small pin points of sound as compared to Sutherland's seemingly endless cascades of full tone."[2] In 1972, music critic Winthrop Sargeant describes her voice "as large as that of a top-ranking Wagnerian soprano" in the The New Yorker.[34] French soprano Natalie Dessay states, "She had a huge, huge voice and she was able to lighten suddenly and to take this quick coloratura and she had also the top high notes like a coloratura soprano but with a big, huge voice, which is very rare."[35]
Sutherland's vocal range extended from G below the staff (G3)[33] to high F (F6), or high F-sharp (F♯6), although she never sang this last note in a public performance.[2][36]
[edit]Honours and awards
During her career and after, Sutherland received many honours and awards. In 1961, she was made a Commander of the Order of the British Empire (CBE).[37] That year she was named the Australian of the Year.[38]
In the Queen's Birthday Honours of 9 June 1975, she was in the first group of people to be named Companions of the Order of Australia (AC) (the order had been created only in February 1975).[39] She was elevated within the Order of the British Empire from Commander to Dame Commander (DBE) in the New Year's Honours of 1979.[40]
On 29 November 1991, the Queen bestowed on Dame Joan the Order of Merit (OM).[41] In January 2004 she received the Australia Post Australian Legends Award which honours Australians who have contributed to the Australian identity and culture. Two stamps featuring Joan Sutherland were issued on Australia Day 2004 to mark the award. Later in 2004, she received a Kennedy Center Honor for her outstanding achievement throughout her career.
Sutherland House and the Dame Joan Sutherland Centre, both at St Catherine's School, Waverley, and the Joan Sutherland Performing Arts Centre (JSPAC), Penrith, are all named in her honour.[42]
John Paul College, a leading private school in Queensland, Australia, dedicated its newly established facility the Dame Joan Sutherland Music Centre in 1991. Sutherland visited the centre for its opening and again in 1996.
In 2012, Sutherland was voted into Gramophone Magazine's first Hall of Fame.Described as "fresh," "silvery" and "bell-like" until 1963,[29] Joan Sutherland's voice, later became "golden" and "warm",[2] music critic John Yohalem writes it was like "molten honey caressing the line."[29] In his book Voices, Singers and Critics, John Steane writes that "if the tonal spectrum ranges from bright to dark, Sutherland's place would be near the centre, which is no doubt another reason for her wide appeal."[2] According to John Yohalem, "Her lower register was a cello register, Stradivarius-hued."[29] Her voice was full and rounded even in her highest notes,[30] which was brilliant, but sometimes "slightly acid."[31]
In 1971, Time writes an article comparing Sutherland and Beverly Sills,
Describing Sutherland's voice, John Yohalem writes:
On my personal color scale, which runs from a voluptuous red (Tebaldi) or blood-orange (Leontyne Price) or purple (Caballé) or red-purple (Troyanos) to white-hot (Rysanek) or runny yellow-green (Sills), Sutherland is among the "blue" sopranos – which has nothing to do with "blues" in the pop sense of the term. (Ella Fitzgerald had a blue voice, but Billie Holiday had a blues voice, which is very different.) Diana Damrau is blue. Mirella Freni is blue-ish. Karita Mattila is ice blue. Régine Crespin was deep blue shading to violet. Sutherland was true blue (like the Garter ribbon). There is a coolness here that can take on the passion in the music but does not inject passion where the music lacks it, could possibly use it.[29]
[edit]Vocal category, size and range
Although she is generally described as a dramatic coloratura soprano, "categorizing Sutherland's voice has always been extremely difficult, both the size and the sound present definitional problems [...] Aside from singing some roles popular amongst coloratura sopranos, Sutherland’s voice could not be more different."[2]
In a 1961 profile in The New York Times Magazine, Sutherland said she initially had "a big rather wild voice" that was not heavy enough for Wagner, although she did not realize this until she heard "Wagner sung as it should be."[33]
Regarding the size of Sutherland's voice, Opera Britannia praise "a voice of truly heroic dimensions singing bel canto. It is doubtful if any soprano in this repertoire has fielded quite so much power and tone as Dame Joan, and this includes Callas and Tetrazzini. The contrast with other sopranos who sing the same roles is appropriately enough stupendous, with rival prima donnas producing small pin points of sound as compared to Sutherland's seemingly endless cascades of full tone."[2] In 1972, music critic Winthrop Sargeant describes her voice "as large as that of a top-ranking Wagnerian soprano" in the The New Yorker.[34] French soprano Natalie Dessay states, "She had a huge, huge voice and she was able to lighten suddenly and to take this quick coloratura and she had also the top high notes like a coloratura soprano but with a big, huge voice, which is very rare."[35]
Sutherland's vocal range extended from G below the staff (G3)[33] to high F (F6), or high F-sharp (F♯6), although she never sang this last note in a public performance.[2][36]
[edit]Honours and awards
During her career and after, Sutherland received many honours and awards. In 1961, she was made a Commander of the Order of the British Empire (CBE).[37] That year she was named the Australian of the Year.[38]
In the Queen's Birthday Honours of 9 June 1975, she was in the first group of people to be named Companions of the Order of Australia (AC) (the order had been created only in February 1975).[39] She was elevated within the Order of the British Empire from Commander to Dame Commander (DBE) in the New Year's Honours of 1979.[40]
On 29 November 1991, the Queen bestowed on Dame Joan the Order of Merit (OM).[41] In January 2004 she received the Australia Post Australian Legends Award which honours Australians who have contributed to the Australian identity and culture. Two stamps featuring Joan Sutherland were issued on Australia Day 2004 to mark the award. Later in 2004, she received a Kennedy Center Honor for her outstanding achievement throughout her career.
Sutherland House and the Dame Joan Sutherland Centre, both at St Catherine's School, Waverley, and the Joan Sutherland Performing Arts Centre (JSPAC), Penrith, are all named in her honour.[42]
John Paul College, a leading private school in Queensland, Australia, dedicated its newly established facility the Dame Joan Sutherland Music Centre in 1991. Sutherland visited the centre for its opening and again in 1996.
In 2012, Sutherland was voted into Gramophone Magazine's first Hall of Fame.Described as "fresh," "silvery" and "bell-like" until 1963,[29] Joan Sutherland's voice, later became "golden" and "warm",[2] music critic John Yohalem writes it was like "molten honey caressing the line."[29] In his book Voices, Singers and Critics, John Steane writes that "if the tonal spectrum ranges from bright to dark, Sutherland's place would be near the centre, which is no doubt another reason for her wide appeal."[2] According to John Yohalem, "Her lower register was a cello register, Stradivarius-hued."[29] Her voice was full and rounded even in her highest notes,[30] which was brilliant, but sometimes "slightly acid."[31]
In 1971, Time writes an article comparing Sutherland and Beverly Sills,
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