Rigoletto Joan Sutherland

Joan Sutherland, Luciano Pavarotti, Sherrill Milnes - Verdi: Rigoletto (1971/2014) [24bit/96kHz]

Sutherland, Pavarotti, Milnes, LSO, Richard Bonynge - Verdi: Rigoletto (1971/2014)
FLAC (tracks) 24 bit/96 kHz | Time - 117:53 minutes | 2,19 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

For sheer vocal splendor you can't go wrong with the 1971 Decca recording featuring the virile baritone Sherrill Milnes as Rigoletto, Luciano Pavarotti in radiant voice as a stylish but slightly scene-stealing Duke, and Joan Sutherland as a Gilda who is a little too vocally resplendent to come across as innocent, but is certainly a treat to hear.
Richard Bonynge, Royal Opera Hause, Joan Sutherland, Luciano Pavarotti - Donizetti: La Fille du Regiment (2009)

Richard Bonynge, Orchestra of the Royal Opera Hause, Joan Sutherland, Luciano Pavarotti - Donizetti: La Fille du Régiment (2009)
EAC | FLAC | Image (Cue & Log) ~ 501 Mb | Total time: 106:35 | Scans included
Classical | Label: DECCA | # 478 1366 | Recorded: 1967

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!
Richard Bonynge, London Symphony Orchestra, Joan Sutherland, Marilyn Horne - Bellini: Norma (2002)

Richard Bonynge, London Symphony Orchestra, Joan Sutherland, Marilyn Horne - Bellini: Norma (2002)
EAC | FLAC | Image (Cue & Log) ~ 772 Mb | Total time: 62:17+30:43+69:10 | Scans included
Classical | Label: DECCA | # 470 413-2 | Recorded: 1964

I believe this is the only note-complete performance of this opera, and furthermore, the only one that is sung in all of the original keys (in almost every other recording "Casta diva" and the duets are transposed down). It is a spectacular example of bel canto. Recorded in 1964, Joan Sutherland was at her peak, exhibiting fearless, beautiful singing, thoroughly accurate in fiorature and breath control.
Hervey Alan & Dame Joan Sutherland & William Herbert & Bernadette Greevy & Forbes Robinson - Handel: Arias (2017)

Hervey Alan & Dame Joan Sutherland & William Herbert & Bernadette Greevy & Forbes Robinson - Handel: Arias (2017)
Classical | MP3 CBR 320 kbps | 02:25:01 | 334 MB
Label: Decca

A newly compiled anthology of Decca recordings on Eloquence surveys the healthy state of Handel singing in England in the 1960s, before this music became the preserve of musicians and singers within the period-instrument movement. This generous (145-minute) collection is based around a pair of newly re-mastered recital albums made by the contralto Bernadette Greevy and the bass Forbes Robinson. Greevy was a true contralto in the tradition of Kathleen Ferrier, Helen Watts, Janet Baker and Norma Procter. Her 1965–56 recital was drawn from a wide range of Handel’s Italian operas (Ottone, Partenope, Alcina, Admeto, Rodelinda, Rinaldo, Atalanta), and it displayed the richness of her voice to fullest advantage, as well as formidable vocal technique and excellent Italian diction.
Richard Bonynge, Joan Sutherland, Luciano Pavarotti - Donizetti: Maria Stuarda [1990/1976]

Donizetti - Maria Stuarda (Richard Bonynge, Joan Sutherland, Luciano Pavarotti) [1990/1976]
Classical | DECCA 425 410-2 | TT: 122.50 | EAC (flac, cue, log) | Covers | 508 Mb

This opera becomes a battle of the divas in its great second act, with Sutherland, as Mary Stuart, pitted against the jealous, paranoid, and vengeful Elizabeth I (Tourangeau). There is an intensely dramatic confrontation in which insults are violently exchanged between the powerful monarch and her imprisoned but still regal rival to the throne. Mary wins the battle of insults, but this is a dangerous victory over one who has the power of life and death. Elizabeth orders Mary's execution and Act III becomes a spectacle of pathos and horror. Sutherland's usual style is more attuned to pathos than to the swapping of insults, but she rises splendidly to the challenges of Act II and she has a splendid supporting cast. (Joe McLellan)
Richard Bonynge, National Philharmonic Orchestra, Joan Sutherland - Donizetti: Lucrezia Borgia [1989/1978]

Donizetti - Lucrezia Borgia (Richard Bonynge, Joan Sutherland) [1989/1978]
Classical | DECCA 421 497-2 | TT: 134.13 | EAC (flac, cue, log) | Covers | 575 Mb

“Sutherland is in her element here - and what a wonderful score it is too…Horne has the odd moment of unsteadiness in the early parts of the opera, but she is impressive in the brilliant Brindisi of the last Act” (The Penguin Guide)
Luciano Pavarotti, Joan Sutherland, LSO, Richard Bonynge - Bellini: I Puritani (1973/1987/2014) [Official Digital Download]

Luciano Pavarotti, Joan Sutherland, LSO, Richard Bonynge - Bellini: I Puritani (1973/1987/2014)
FLAC (tracks) 24-bit/96 kHz | Time - 173:52 minutes | 3.05 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

Pavarotti made only one studio recording of I Puritani. In 1973 he recorded the opera with Richard Bonynge conducting the London Symphony Orchestra and with Joan Sutherland as Elvira.
Luciano Pavarotti, Joan Sutherland, LSO, Richard Bonynge - Bellini: Beatrice di Tenda (1966/2014) [Official Digital Download]

Luciano Pavarotti, Joan Sutherland, LSO, Richard Bonynge - Bellini: Beatrice di Tenda (1966/2014)
FLAC (tracks) 24-bit/96 kHz | Time - 147:36 minutes | 2.90 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

„Bellini’s penultimate opera – written for La Fenice, Venice, in 1833 – has never enjoyed the popularity of such works as La sonnambula, Norma and I puritani. Listening to this vintage Joan Sutherland recording dating from 1966, it is hard to fathom why. The story is strong and stirring – a sort of cross between Maria Stuarda and La Gioconda – and offers fine roles for the wronged titular heroine, her villainous husband Filippo, her platonic admirer Orombello and his would-be mistress, Agnese del Maino (a Princess Eboli avant la lettre).
Richard Bonynge, Joan Sutherland,  Luciano Pavarotti - Bellini: Beatrice di Tenda [1992/1966]

Bellini - Beatrice di Tenda (Richard Bonynge, Joan Sutherland, Luciano Pavarotti) [1992/1966]
Classical | DECCA 433 706-2 | TT: 197.32 | EAC (flac, cue, log) | Covers | 859 Mb

Bellini’s penultimate opera – written for La Fenice, Venice, in 1833 – has never enjoyed the popularity of such works as La sonnambula, Norma and I puritani. Listening to this vintage Joan Sutherland recording dating from 1966, it is hard to fathom why. The story is strong and stirring – a sort of cross between Maria Stuarda and La Gioconda – and offers fine roles for the wronged titular heroine, her villainous husband Filippo, her platonic admirer Orombello and his would-be mistress, Agnese del Maino (a Princess Eboli avant la lettre). How odd that Sutherland never managed to persuade Covent Garden to mount it for her, especially with this glorious cast. The Decca set is historic because it offered the legendary Sutherland/Pavarotti collaboration for the first time on disc. Luciano is wonderfully stylish here, elegant and ringing: Nureyev, vocally-speaking, to Sutherland’s Fonteyn. La Stupenda was going through one of her ‘moony’, muddy-diction phases, but the vocalism is quite dazzling. It’s a joy to encounter Josephine Veasey in her only commercially recorded Italian role: velvet-toned, shining, she is Sutherland’s most lustrous mezzo rival in any bel canto recording. (BBC MUSIC MAGAZINE)
Ferdinand Leitner, Cappella Coloniensis, Joan Sutherland, Fritz Wunderlich - Handel: Alcina [2008/1959]

Handel - Alcina (Ferdinand Leitner, Joan Sutherland, Fritz Wunderlich) [2008/1959]
Classical | Deutsche Grammophon 002894778017 | TT: 73.35+78.18 | EAC (FLAC, cue, log) | Covers | 729 Mb

This recording is the first official release in any format of this once-in-a-lifetime concert performance featuring Dame Joan Sutherland and Fritz Wunderlich. In 1959 performances of Handel were just beginning to embrace the original instrument movement making this recording an invaluable historic record of performance practice. In addition to musicological interest, the CDs present Joan Sutherland at the beginning of her illustrious career in the full bloom of youth. She was flown in as a last minute replacement for the scheduled soprano and proceeded to give a virtuoso performance of the demanding title role. Full of Handel's gorgeous melodies and with vocal fireworks in bountiful supply, it is no wonder that Sutherland completely awed the German public. She is joined by Fritz Wunderlich, the acclaimed German tenor, in their one-and-only collaboration. He as well was a last minute replacement and rises to the exacting demands of Handel. His rich and pliant tone is perfectly suited to the technical and dramatic demands of the opera.