When Haydn first came to London in 1791 he was recognised as one of the greatest composers in the world, but his extensive operatic output was essentially unknown outside Eszterháza, where the works had originated. He was commissioned to produce a new opera to celebrate the opening of the King’s Theatre in the Haymarket, but political intrigue prevented its production. Although the resources in terms of orchestra and chorus (particularly in the final Underworld act) were far greater than anything he had known in Hungary, Haydn seems to have been unworried by the fracas, since his generous fee was already in his bank in Vienna, and his concerts were proving an outstanding success. But he never composed another opera. The official title, L’anima del filosofo, seems to have been a half-hearted attempt to distinguish it from the successful Gluck version of Orfeo.

Dame Joan Sutherland and tenor Alfredo Kraus star in Donizetti's tale of sixteenth century opulence and decadence. Joan Sutherland is unquestionably the unsurpassed Lucrezia of all-time, and this production at Covent Garden showcases her incomparable coloratura technique. Bel canto specialist Richard Bonynge conducts The Orchestra of the Royal Opera House in this historic performance.

Sutherland is predictably impressive. Her 'O beau pays' is thrillingly done…with much attention to detail. Tourangeau as the page is another highlight…This is by far the most successful recording of this work and with a brilliant recording to match the ambitions of the project.— Penguin Guide

Francesco Cilea’s most popular work is based on the 1849 play by Eugene Scribe and Ernest Legouvé. Adriana Lecouvreur is a star of the stage who could seemingly have any man she desires, but when she falls hopelessly in love with the Count of Saxony, she discovers he's already been promised to the Princess of Bouillon, leading to a battle of wills between them. Filmed in 1984 at Sydney Opera House.

Decca proudly presents the Complete Works by Giuseppe Verdi in a single 75 CD box set. From the ever-popular “Aida” to the obscure “Alzira,” all 28 of Giuseppe Verdi's operas are here as well as his Sacred Works, Arias, Songs, Ballet Music, the String quartet and other rarities.

Joan Sutherland first sang the role of Alcina in 1957 and continued to sing it until 1983. The role allows her to display her technical agility, the breath control on long phrases and her stunning trill. It must be admitted that her diction is not clean – but what glorious singing. Teresa Berganza as Ruggiero is Sutherland's equal throughout the entire opera. Her approach is less overtly spectacular but her "Verdi prati" is an object lesson in classic vocalism. With a glorious contralto voice, Monica Sinclair attacks the role of Bradamante with gusto. The three octave scale which concludes her Act 1 aria is not stylistic, but it is exciting. In the shorter roles Mirella Freni and Graziella Sciutti are excellent. Freni was at the beginning of long and glorious career. The male roles are of less importance in this opera but they are very well sung by Luigi Alva and Ezio Flagello.

Lucrezia Borgia is a lyrical masterly example of Donizetti's art that delights the ear endlessly… Sutherland made the low key arias breathtaking vehicles for the most ravishing singing one is likely to hear on any opera stage in the world.

— The Financial Review

Marie, found abandoned as a baby on the battlefield, was adopted and raised by soldiers. She is the darling of the regiment. When the Marquise of Berkenfield tells the Sergeant that Marie is actually her niece and she must leave the regiment, the troops are heartbroken. The Marquise plans to educate and marry Marie in a manner befitting a lady of quality, but Marie wants only to return to her regiment and the man she loves.
"Sutherland once again produced that glittering unmistakable brilliance of sound." (The Canberra Times)

Donizetti's rollicking comic opera The Elixir of Love receives a scintillating performance in this early 1970's London/Decca recording. Featuring an unbeatable cast, headed by Joan Sutherland and Luciano Pavarotti, this wonderful interpretation demonstrates singing of the highest levels of artistic integrity- definitive, passionate, lyrical, committed. The English Chamber Orchestra responds to Richard Bonynge's direction to provide sharp, colorful orchestral support, and the Ambrosian Opera Chorus' performance can only be described as brilliant.

This 1966 recording, billed as the first complete Semiramide on disc, with Joan Sutherland singing Semiramide and Marilyn Horne singing the trouser role Arsace, has long been considered the standard by which all other Semiramide's are measured. Although subsequently there have been more complete recordings, this remains among the best recorded performance and is a recommendation for every opera collection.

In tradition of grand opera, Dame Joan Sutherland's farewell performance to the operatic stage in Giacomo Meyerbeer's Les Huguenots is a gala triumph of spectacle, pageantry, and drama. This technically complex production captures the horror and tragedy of the St. Bartholomew's Day massacre, as well as the splendor and romance of 16th century France. Sutherland's glorious soprano voice is just one of the many brilliant highlights of this acclaimed performance, a revival of director Lotfi Mansouri's highly praised 1981 production. Often referred to as "The Night of the Seven Stars," Les Huguenots is a demanding production that requires the presence of seven major talents to sing the lead roles. For this reason, it is not often performed, but it is a most fitting end to the career of "La Stupenda," one of opera¹s brightest stars.

In 1959 a young Australian soprano burst upon the international scene with a sensational performance of Lucia di Lammermoor at the Royal Opera House, Covent Garden. That soprano was Joan Sutherland, and now, 50 years later, Decca celebrates the prima donna in her most acclaimed role. Decca proudly presents, in a deluxe limited-edition, the soprano's 1971 landmark recording of Donizetti's opera. All the principal singers are here caught at the pinnacle of their careers, making this, quite possibly, the most beautiful Lucia ever captured on record.

It should not be all that much of a surprise to anyone familiar with Bonynge that this set would be memorable. Bonynge has worked not only with the Ambroasian Singers, but each of the soloists as well. Joan Sutherland without a doubt the strongest of the four soloists. She handles her role with ease, using the skills she has as a Bel Canto specialist to maneuver Handel's trills and flourishes. Two soloists who truly get a vocal workout are Hugette Tourangeau who sings the contralto role and bass Tom Krause. Though listeners may love the vocal fireworks Handel includes in the score, it is rather difficult terrain for the lower voices, but Tourangeau and Krause do a spectacular job. Many listeners may also realize that other basses have simplified their parts whereas Krause accepts the vocal challenges and he does more than accept, he achieves success. Werner Krenn's light tenor is suited for his parts. The orchestra and chorus are both top notch.

–Timothy Kearney

Lucia di Lammermoor catapulted Joan Sutherland to international fame in 1959. It is a role with which her name is now inextricably linked and one which provides a perfect showcase for her remarkable vocal agility and acting ability. Set in the misty moors of Scotland, Lucia di Lammermoor is based on the novel by Sir Walter Scott. It is a tragic tale of star-crossed lovers separated by a family feud. In Gaetano Donizetti's dark, romantic opera, the forces of hate tear the young couple apart, leading to madness and murder. Richard Greager, Malcolm Donnelly, Joan Sutherland. Directed by John Copley, conducted by Richard Bonynge.

Recorded in 1967, the recording features Joan Sutherland and Luciano Pavarotti at the high-noon of their careers! Pavarotti, with great charm and humor, tosses off endless high notes in a barnstorming performance. Sutherland easily tackles the great vocal demands and gives an effortlessly stunning performance. No other recording of this opera has come close to surpassing this classic for vocal beauty and sheer thrills!