A book for the true fans of the great Australian prima donna, one of the finest sopranos of all time, and one of the most hard-working and professional singers to appear in recent decades.
Hardcover
,
486 pages
Published
December 11th 1997
by Regnery Publishing Inc
(first published November 25th 1997)
First, I should say, Sutherland was - for all her astounding talent - a reasonably ordinary person. Her upbringing was unremarkable, her career (while spectacular) was not a tempestuous one, her marriage and family life stable, and her hobbies included needlepoint and traveling. She was not the fiery Callas or the famously unreliable Sumi Jo. In this regard, the world wasn't crying out for a tell-all autobiography.
So, instead, we've been given what
An interesting and not entirely satisfying read.
First, I should say, Sutherland was - for all her astounding talent - a reasonably ordinary person. Her upbringing was unremarkable, her career (while spectacular) was not a tempestuous one, her marriage and family life stable, and her hobbies included needlepoint and traveling. She was not the fiery Callas or the famously unreliable Sumi Jo. In this regard, the world wasn't crying out for a tell-all autobiography.
So, instead, we've been given what is essentially a diary of Sutherland's forty years in the business. (No, I'm not kidding, at several times Sutherland confirms she is taking this information from her diaries and elaborating on this where required.) This can of course be quite frustrating. Entire years pass in mere itemised lists of performances, colleagues, and reviews. Deaths and births are treated almost as offhandedly as the latest production of "Norma", doctors and friends get mentions largely because Sutherland didn't want to leave them out, and frequently she glosses over something it would've been fascinating to hear about. As a Melbournian arts worker, for instance, I was intrigued by her thoughts on the lack of performing venues in Melbourne until the Arts Centre came along, but she simply mentions her one (cancelled) concert scheduled there in 1985 and then moves on. (In the post-1985 sequences, more is revealed - presumably as Sutherland's memory was clearer - but it comes as quite a surprise when she expresses a strong negative opinion for once, in this instance her reaction when Pavarotti had to cancel on a recording session when it became clear he didn't know his part.)
As I mentioned above, this is not entirely surprising. A needlessly drawn out story of her childhood and training was unnecessary (and had been covered by existing biographers). As an opera buff myself, I really enjoyed this book. It's truly revealing the punishing schedule this elite art requires, and puts paid to some of the stories and stereotypes that have sprung up over the year. I really liked seeing the way works entered Sutherland's repertoire and remained there, and I'm always intrigued by how performers manage their schedule, so it was my kind of book.
Will it be everyone's? Probably not. When a paragraph exists merely to name-check the cast and venue of a performance (along with the specific dates from 1973), it's probably not going to be fascinating to all that many, particularly if you're not au fait with the opera and its roles.
Overall then, I'd advise amateur Sutherland fans or biography-hunters to seek out other material. But if you're deeply into the Dame, or if you have a connection with the world of opera, might be worth a look.
...more
Well that was quite a read! Joan Sutherland had a breathtaking career. What stamina and discipline accompanied that marvelous voice. It was interesting to learn more about her husband, Richard Bonynge, who had just as prolific a career as a conductor.
Unfortunately, Sutherland's autobiography reads more like a diary for the most part. The detail is staggering in this respect.
What really got me were her excerpts from newspaper reviews of performances by herself and husband, as conductor. Not just
Well that was quite a read! Joan Sutherland had a breathtaking career. What stamina and discipline accompanied that marvelous voice. It was interesting to learn more about her husband, Richard Bonynge, who had just as prolific a career as a conductor.
Unfortunately, Sutherland's autobiography reads more like a diary for the most part. The detail is staggering in this respect.
What really got me were her excerpts from newspaper reviews of performances by herself and husband, as conductor. Not just phrases but multiple paragraph excerpts. Really? Multiple paragraph excerpts? She could have shaved about 100 pages from the manuscript with a lot less of this commentary.
Overall, it was quite an interesting read, and in a good way too. A person's life doesn't have to be wrought with controversy to be intriguing. With its tedious attention to detail, the book archives an expansive list of singers of her era, particularly from Australia. I enjoyed trying to find some of these more obscure artists via youtube & iTunes.
Sutherland would have been charming to sit down and have a conversation with. Thank you, Joan, for sharing a little bit of your experiences with us.
...more
I should probably stop kidding myself that I'm ever going to finish this. 11th February was when I marked it as 'currently reading'. In reality, it's actually been about a year, I'm only 100-or-so pages in, and it's still only the 1960's. What I've learned is that Joan Sutherland got a few good reviews and that her husband was totally HOT in his younger days. That's enough, no?