Back when I was in high school I remember a friend who took herself to a Joan Sutherland recital (this was in 1970/1971 in Washington, DC.). After the recital, my friend went backstage to get Ms. Sutherland's autograph. She said to Sutherland that she must be tired of people complimenting and praising her. Well, Sutherland assured her that meeting with fans and hearing their compliments was something she never tired of! I thought this was so gracious of her.

Greatest voice in the history of opera, IMO. No one else could perform at her level of technical brilliance, beauty of tone and and production of such a thrilling sound. Of course Callas, Nilsson, Sills and others were at the top of their games, but none of them has ever captivated me with the sheer sound of a human voice like she has, It's spellbinding. And I love how down to earth she is and her humor; no pretense whatsoever, unlike others we know of.

The Lucrezia was FABULOUS!!!!

I appreciate how intelligent and informed Mr. Levin's questions are- and Dame Joan is a delight.

A wonderful interview, displaying Sutherland at her most engaging and naturally modest, while (in the question suggesting Donizetti and Bellini roles lack intellectual stature) confirming Levin’s very 1970s’ snobbery, which parks him off to the side as very much a period piece, while Sutherland’s timelessness shines.

So charming and beautiful inside and out here!

Thank you so much for posting this wonderful interview. Although I think Bonynge is one the greatest conductors of bel canto repertoire, IMHO whenever Sutherland is interviewed with Bonynge, he hardly lets her speak. It was a delight to let this legendary opera superstar have the interview all to herself.

This is the loveliest interview I've seen with her. So relaxed and with the perfect balance of being self-effacing yet sure of her place in the firmament! And she certainly got her wish to do a few more Lucrezias. Thank you.

Levin was undoubtedly a provocative yet brilliant interviewer, his erudite knowledge of the arts and literature made him the ideal interviewer for Joan Sutherland. Consequently we learnt a great deal about the formative years of La Stupenda, and what a treat to see and hear clips from some of her famous bel canto roles. Sutherland also possessed an engaging modesty given her extraordinary artistic stature world wide.

Bernard Levin was a theatre critic well known then for his cruel comments on anyone and everyone whom he didn't admire and, boy, he didn't admire very many. I recall he didn't much like Dame Joan criticising her appearance and lack of acting ability. It says something about Sutherland's forgiving nature to be so charming to him. A chap once punched him in public on television and we all cheered. Perhaps we should forgive him also because it's an excellent interview. Thank you.

A charming interview with Sutherland at her home in Switzerland. Somewhat strange that the musical examples were pre-recorded (especially I think) and she "mimed" to them. Fantastic that Richard Bonynge celebrates his 90th birthday on 29 September 2020. A new book about their Chalet Monet home just being released too. We miss her voice live.

i love the fact that her laughter is totally goofy and geeky.

Très grande soprano je l'adore simple voix exceptionnelle 💖💖💖💖🎼🎼🎼🎼🌹🌹🌹🌹🌹🌹🌹🌹

I just love "Let the Bright Seraphim" with which this starts.

Thank you for sharing. I’ve not seen the complete interview. Joan sounded sweet in her speaking voice and her repertoire was great 👍 I studied classical singing in the only conservatory that exists here in Managua, I’m a lyric light soprano and some passages of coloratura I’ve learned listening and practicing some parts of the arias. A huge from Managua, Nicaragua 🇳🇮

An amazing woman.

I was lucky enough to see her onstage in many of her great roles after 1973. Lovely interview, and it puts to bed the nonsense that she was dying to sing the spinto-dramatic roles, but was forced by Bonynge to sing bel canto instead. It’s obvious here that she adored the bel canto roles, and only considered a couple of roles outside the genre to add to her repertoire. Much later in her career, she commented, “I’d be just as happy to dispense with all the agility,” as she likely got tired of singing the same operas over and over again.

Thank you for this

One minor complaint- I wish that the singing were live rather than lip-syncing. But aside from that, this is a complete delight ... thanks mostly to Joan's articulate and charming way about her.

What an awesome interview! Thank you for posting!

Vini - I am in your debt. Thank you most kindly for this posting ....!

Thank you so much for uploading these long recordings on KZfaq on Dame Sutherland!

She is AMAZING !

I had the wonderfull luck to proforme with her at the Kings Théâtre Edinburgh 21st Edinburgh Festival.I was the solo dancer.she and Richard take me with them to see the New York Ballet.we had a very wonderfull time it was just fantastique and magique to work with them . Edward Arckless ex Royal Oper Ballet Covent Garden London and conservatoire de Ville de Paris France

SEMPLICEMENTE LEGGENDARIA....LA PIÙ GRANDE CANTANTE LIRICA DI TUTTI I TEMPI.....DAL PUNTO DI VISTA VOCALE......NATURALMENTE!!!!!

Just Stunning One!

She’s fabulous.

This was soon after her Debut in Borgia. He did one with Sills as well. I was at a screening of the documentary of A Life On The Move about Sutherland and Bonynge. He was interviewed in that documentary and spoke of Daughter saying I wish she hadn’t done it, implying it was beneath her. Joan said loud enough for us all to hear “snob”. Very funny.

maravillosa, bonitos recuerdos de la esta prima donna, aunque sea en grabaciones

I found her low and middle voice to be rather thick and dull. It was amazing that she could move such a big sound so quickly and accurately.

This is a wonderful interview. Sutherland is so charming, down to earth and candid. I love her speaking voice. Were the video's of her singing from BBC television shows, and if so, are they available on DVD?

The interview at the 50 minute mark moving forward was quite juicy, i thought.

grossartige sängerin

at 8:06 "Then your first lead role was the Countess in Figaro .... You could be right". Actually Sutherland's first lead role was Amelia in Un Ballo in Maschera, just two months after her Royal Opera debut

Monoka - I hope you’ll find time to watch this interview in its entirety. AND . . . there are also great examples of Sutherland in various roles On stage.

Shame they used the filmed excerpts which don't show Joan's voice at it's finest. Would have been preferable to just hear some extracts from her legendary recordings, e.g. 1959 Don Giovanni and Lucia (live from R.O.H.) These are examples of just what an extraordinary singer she was at her peak. IMO Joan should have been guided by her own feelings and ceased to sing the "younger" roles after the early 70's.

Do you know the level of class you need to reach to naturally sew while being interviewed?

I cringe at his pretensions and lofty attitude.

Oh my God she's sewing 😂

Sutherland was the greatest Donna Anna in my opinion. Sarah Caldwell devoted a considerable effort coaching Sutherland's entrances and exits, which suggests the importance of Donna Anna's comportment and poise, indicating that she was a "great lady," a person of consequence, high born, and not to be trifled with. In the opera, Donna Anna was furious with Don Giovanni for shaming her. Whether or not they "did it"" (sorry for the vulgarity) is really not the point. Two adults of opposite sex who were not married were not supposed to be left alone, ever. Even if "nothing happened," appearances were everything. A woman could lose her reputation and marriagability. I believe Donna Anna was also furious with herself, which may not be reasonable, but since when have a women's emotions been guided by reason?

Not a fan of Joan in Mozart. By 1973 the bloom was off the rose

I don't like Sutherland at all. Her voice, her (lack of) acting and diction... But she's so charming here, very simple, I'm surprised to find her so sympathetic.