Joan Sutherland,one of the most acclaimed sopranos of the 20th century, a singer ofsuch power and range that she was crowned “La Stupenda,” died on Sunday at her home in Switzerland, near Montreux. She was 83.
stupendo adj. 1. marvelous, 2. wonderful 3. stupendous ４. wondrous 5. terrific 6. stunning
Her death was confirmed by her close friend the mezzo-soprano Marilyn Horne.
It was Italy’s notoriously picky critics who dubbed the Australian-born Ms. Sutherland the Stupendous One after her Italian debut, in Venice in1960. And for 40 years the name endured with opera lovers around the world. Her 1961 debut at the Metropolitan Opera in New York, in Donizetti’s “Lucia di Lammermoor,” generated so much excitement that standees began lining up at 7:30 that morning. Her singing of the Mad Scene drew a thunderous 12-minute ovation.
stupendous adj. extremely large or impressive, especially greater or better
than you expect 大的；令人的；了不起的
standee n. 站著看的人;站票
Ms. Sutherland’s singing was founded on astonishing technique. Her voice was evenly produced throughout an enormous range, from a low G to effortless flights above high C. She could spin lyrical phrases with elegant legato, subtle colorings and expressive nuances. Her sound was warm, vibrant and resonant, without any forcing. Indeed, her voice was so naturally large that at the start of her career Ms. Sutherland seemed destined to become a Wagnerian dramatic soprano.legato n. to be played or sung in a smooth, even manner 音的
nuance n. a very slight difference in meaning, sound, colour or somebody's feelings that
is not usually very obvious （意、音、色、感情等方面的）微差
Following her first professional performances, in 1948, during a decade of steady growth and intensive training, Ms. Sutherland developed incomparable facility for fast runs, elaborate roulades and impeccable trills. She did not compromise the passage work, as many do, by glossing over scurrying runs, but sang almost every note fully.
roulade n. 【法】【音】奏;(曲的)急速子
trill n. the sound made when two notes next to each other in the musical
scale are played or sung quickly several times one after the other 音
Her abilities led Richard Bonynge, the Sydney-born conductor and vocal coach whom she married in 1954, to persuade her early on to explore the early-19th-century Italian opera of the bel canto school. She became amajor force in its revitalization.
Bel canto (which translates as “beautiful song” or “beautiful singing”) denotes an approach to singing exemplified by evenness through the range and great agility. The term also refers to the early-19th-century Italian operas steeped in bel canto style. Outside of Italy, the repertory had languished for decades when Maria Callas appeared in the early 1950s and demonstrated that operas like “Lucia di Lammermoor” and Bellini’s “Norma” were not just showcases for coloratura virtuosity but musically elegant and dramatically gripping works as well.
be steeped in something （written）to have a lot of a particular quality 深深浸淫；含（某品）
virtuosity n. a very high degree of skill in performing or playing （表演或演奏方面的）高超技，精湛演技
Even as a young man, Mr. Bonynge had uncommon knowledge of bel canto repertory and style. Ms. Sutherland and Mr. Bonynge, who is four years younger than she, met in Sydney at a youth concert and became casual friends. They were reacquainted later in London, where Ms. Sutherland settled with her mother in 1951 to attend the Royal College of Music. There Mr. Bonynge became the major influence on her development.
Ms. Sutherland used to say she thought of herself and her husband as a duo and that she didn’t talk of her career, “but of ours.”
In a 1961 profile in The New York Times Magazine she 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.”
“Richard had decided long before I agreed with him that I was a coloratura,” she said.
“We fought like cats and dogs over it,” she said, adding, “It took Richard three years to convince me.”
In her repertory choices Ms. Sutherland ranged widely during the 1950s, singing lighter lyric Mozart roles like the Countess in “Le Nozze di Figaro” and heavier Verdi roles like Amelia in “Un Ballo in Maschera.” Even then, astute listeners realized that she was en route to becoming something extraordinary.
astute adj. very clever and quick at seeing what to do in a particular situation, especially how to get an
advantage 精明的；狡猾的
In a glowing and perceptive review of her performance as Desdemona in Verdi’s “Otello” at Covent Garden in London in late 1957, the critic Andrew Porter, writing in The Financial Times, commended her for not “sacrificing purity to power.” This is “not her way,” Mr. Porter wrote,“and five years on we shall bless her for her not endeavoring now to be‘exciting’ but, instead, lyrical and beautiful.”
She became an international sensation after her career-defining performance in the title role of “Lucia di Lammermoor” at Covent Garden its first presentation there since 1925 which opened on Feb. 17, 1959. The production was directed by Franco Zeffirelli and conducted by the Italian maestro Tullio Serafin, a longtime Callas colleague, who elicited from the 32-year-old soprano a vocally resplendent and dramatically affecting portrayal of the trusting, unstable young bride of Lammermoor.
elicit v. to get information or a reaction from somebody, often with difficulty 引出；探出；出 (written)
Mr. Porter, reviewing the performance in The Financial Times, wrote that the brilliance of Ms. Sutherland’s singing was to be expected by this point. The surprise, he explained, was the new dramatic presence she brought to bear.
bring something to bear (on somebody/something) 把精力用於；…施加力（或影等）
“The traces of self-consciousness, of awkwardness on the stage, had disappeared; and at the same time she sang more freely, more powerfully, more intensely and also more bewitchingly than ever before.”
This triumph was followed in 1960 by landmark portrayals in neglected bel canto operas by Bellini: Elvira in “I Puritani” at the Glyndebourne Festival (the first presentation in England since 1887) and “La Sonnambula” at Covent Garden (the company’s first production in half a century).
Ms. Sutherland’s American debut came in November 1960 in the title role of Handel’s“Alcina” at the Dallas Opera, the first American production of this now-popular work. Her distinguished Decca recording of “Lucia di Lammermoor,” with an exceptional cast conducted by John Pritchard, was released in 1961, the year of her enormously anticipated Metropolitan Opera debut in that same work, on Nov. 26. At Ms. Sutherland’s first appearance, before she had sung a note, there was an enthusiastic ovation. Following the first half of Lucia’s Mad Scene in the final act, which culminated in a glorious high E-flat, the ovation lasted almost 5 minutes. When she finished the scene and her crazed, dying Lucia collapsed to the stage floor, the ovation lasted 12 minutes.
Reviewing the performance in The New York Times, Harold C. Schonberg wrote that other sopranos might have more power or a sweeter tone, but “there is none around who has the combination of technique, vocal security, clarity and finesse that Miss Sutherland can summon.”
diction n. 1. the way that sb pronounces words 吐字；音方式
clear diction 清晰的吐字
2. the choice and use of words in literature 措；用；用
Even for some admirers, though, there were limitations to her artistry. Her diction was often indistinct. After receiving steady criticism for this shortcoming, Ms. Sutherland worked to correct it, and sang with crisper enunciation in the 1970s.
=>原咬字不清楚是Sutherland期被批的缺，我以是因出身英系家，音舌硬的。
enunciation n. 清晰的音；表明;宣言
She was also sometimes criticized for delivering dramatically bland performances. At 5-foot-9, she was a large woman, with long arms and large hands, and a long, wide face. As her renown increased, she insisted that designers create costumes for her that compensated for her figure, which, as she admitted self-deprecatingly in countless interviews, was somewhat flat in the bust but wide in the rib cage. Certain dresses could make her look like “a large column walking about the stage,” she wrote in “The Autobiography of Joan Sutherland: A Prima Donna’s Progress” (1997).
deprecate v. to feel and express strong disapproval of something …表示不成；烈反
Paradoxically, Mr. Bonynge contributed to the sometimes dramatically uninvolved quality of her performances. By the mid-1960s he was her conductor of choice, often part of the deal when she signed a contract. Trained as a pianist and vocal coach, he essentially taught himself conducting. Even after extended experience, he was not the maestro opera fans turned to for arresting performances of Verdi’s “Traviata.” But he thoroughly understood the bel canto style and was attuned to every component of his wife’s voice.
Yet if urging her to be sensible added to her longevity, it sometimes resulted in her playing it safe. Other conductors prodded Ms. Sutherland to sing with greater intensity: for example, Georg Solti, in an acclaimed 1967 recording of Verdi’s Requiem with the Vienna Philharmonic and the Vienna State Opera Chorus, and Zubin Mehta, who enticed Ms. Sutherland into recording the title role in Puccini’s “Turandot,” which she never sang onstage, for a 1972 recording. Both of these projects featured the tenor Luciano Pavarotti, who would become an ideal partner for Ms. Sutherland in the bel canto repertory. Ms. Sutherland’s fiery Turandot suggests she had dramatic abilities that were never tapped.
Joan Alston Sutherland was born on Nov. 7, 1926, in Sydney, where the family lived in a modest house overlooking the harbor. The family garden and the rich array of wild flowers on the hillside near the beach inspired her lifelong love of gardening.
Her mother, Muriel Sutherland, was a fine mezzo-soprano who had studied with Mathilde Marchesi, the teacher of the Australian soprano Nellie Melba. Though too shy for the stage, Ms. Sutherland’s mother did vocal exercises every day and was her daughter’s principal teacher throughout her adolescence.
Ms. Sutherland’s father, William, a Scottish-born tailor, had been married before. His first wife died during the influenza epidemic after World War I, leaving him with three daughters and a son. Ms. Sutherland was the only child of his second marriage. He died on the day of Ms. Sutherland’s sixth birthday. He had just given her a new bathing suit and she wanted to try it out. Though feeling unwell, he climbed down to the beach with her and, upon returning, collapsed in his wife’s arms. Joan, along with her youngest half-sister and their mother, moved into the home of an aunt and uncle, who had sufficient room and a big garden in the Sydney suburb of Woollahra.
Although Ms. Sutherland’s mother soon recognized her daughter’s gifts, she pegged her as a mezzo-soprano. At 16, facing te reality of havingto support herself, Ms. Sutherland completed a secretarial course andtook office jobs, while keeping up her vocal studies. She began lessonsin Sydney with Aida Dickens, who convinced her that she was a soprano, very likely a dramatic soprano. Ms. Sutherland began singing oratorios and radio broadcasts and made a notable debut in 1947 as Purcell’s Didoin Sydney.
In 1951, with prize money from winning a prestigious vocal competition, she and her mother moved to London, where Ms. Sutherland enrolled at the opera school of the Royal College of Music. The next year, after three previous unsuccessful auditions, she was accepted into the Royal Opera at Covent Garden and made her debut as the First Lady in Mozart’s “Zauberflte.”
In the company’s landmark 1952 production of Bellini’s “Norma,” starring Maria Callas, Ms. Sutherland sang the small role of Clotilde, Norma’s confidante. “Now look after your voice,” Callas advised her at the time, adding, “We’re going to hear great things of you.”
“I lusted to sing Norma after being in those performances with Callas,” Ms. Sutherland said in a 1998 New York Times interview.“But I knew that I could not sing it the way she did. It was 10 years before I sang the role. During that time I studied it, sang bits of it, and worked with Richard. But I had to evolve my own way to sing it, and I would have wrecked my voice to ribbons had I tried to sing it like her.”
