structural:expansion, structural:scholar_edition
Career

In 1957, she appeared in Handel 's Alcina with the Handel Opera Society, and sang selections from Donizetti 's Emilia di Liverpool in a radio broadcast. The following year she sang Donna Anna in Don Giovanni in Vancouver.

In 1959, Sutherland was invited to sing Lucia di Lammermoor at the Royal Opera House in a production conducted by Tullio Serafin and staged by Franco Zeffirelli. The role of Edgardo was sung by her fellow Australian Kenneth Neate, who had replaced the scheduled tenor at short notice. In 1960, she recorded the album The Art of the Prima Donna: the double LP set won the Grammy Award for Best Classical Performance – Vocal Soloist in 1962. The album was added to the National Film and Sound Archive 's Sounds of Australia registry in 2011.

Sutherland sang Lucia to great acclaim in Paris in 1960 and, in 1961, at La Scala and the Metropolitan Opera. For her Met performance of Lucia di Lammermoor, standees began lining up at 7:30 that morning. Her singing of the Mad Scene drew a 12-minute ovation. In 1960 she sang Alcina at La Fenice. Sutherland would soon be praised as La Stupenda in newspapers around the world. Later that year (1960), Sutherland sang Alcina at the Dallas Opera, with which she made her US debut.

Her Metropolitan Opera debut took place on 26 November 1961, when she sang Lucia. After a total of 223 performances in a number of different operas, her last appearance there was a concert on 12 March 1989. During the 1978–82 period her relationship with the Met deteriorated when Sutherland had to decline the role of Constanze in Mozart 's Die Entführung aus dem Serail, more than a year before the rehearsals were scheduled to start. The opera house management then declined to stage the operetta The Merry Widow especially for her, as requested; subsequently, she did not perform at the Met during that time at all, even though a production of Rossini 's Semiramide had also been planned, but later she returned there to sing in other operas.

During the 1960s, Sutherland added the heroines of bel canto to her repertoire: Violetta in Verdi 's La traviata, Amina in Bellini's La sonnambula and Elvira in Bellini's I puritani in 1960; the title role in Bellini's Beatrice di Tenda in 1961; Marguerite de Valois in Meyerbeer's Les Huguenots and the title role in Rossini's Semiramide in 1962; Norma in Bellini's Norma and Cleopatra in Handel's Giulio Cesare in 1963. In 1966 she added Marie in Donizetti 's La fille du régiment.

In 1965, Sutherland toured Australia with the Sutherland-Williamson Opera Company. Accompanying her was a young tenor named Luciano Pavarotti.

During the 1970s, Sutherland strove to improve her diction, which had often been criticised, and increase the expressiveness of her interpretations. She continued to add dramatic bel canto roles to her repertoire, such as Donizetti's Maria Stuarda and Lucrezia Borgia, as well as Massenet 's Esclarmonde. With Pavarotti she made a studio-recording of Turandot in 1972 conducted by Zubin Mehta, though she never performed the role on stage.

Sutherland's early recordings show her to be possessed of a crystal-clear voice and excellent diction. However, by the early 1960s her voice lost some of this clarity in the middle register, and she often came under fire for having unclear diction. Some have attributed this to sinus surgery; however, her major sinus surgery was done in 1959, immediately after her breakthrough Lucia at Covent Garden. In fact, her first commercial recording of the first and final scene of Lucia reveals her voice and diction to be just as clear as prior to the sinus procedure. Her husband Richard Bonynge stated in an interview that her "mushy diction" occurred while striving to achieve perfect legato. According to him, it is because she earlier had a very Germanic "un-legato" way of singing.

During the 1980s, Sutherland added Anna Bolena, Amalia in I masnadieri, and Adriana Lecouvreur to her repertoire, and repeated Esclarmonde at the Royal Opera House performances in November and December 1983. Her last full-length dramatic performance was as Marguerite de Valois (Les Huguenots) at the Sydney Opera House in 1990, at the age of 63, where she sang Home Sweet Home for her encore. Her last public appearance, however, took place in a gala performance of Die Fledermaus on New Year's Eve, 1990, at Covent Garden, where she was accompanied by her colleagues Luciano Pavarotti and the mezzo-soprano Marilyn Horne. According to her own words, given in an interview with The Guardian newspaper in 2002, her biggest achievement was to sing the title role in Esclarmonde. She considered those performances and recordings her best.