# Let's start over: The Siege of Corinth by Rossini.... Why didn't Sutherland Sing It?



## Seattleoperafan (Mar 24, 2013)

I really really love the incredible arias from The Siege of Corinth by Rossini, but am curious why Sutherland never performed it. Of course Sills blew everyone away when she did it in the early 70's and justly so. She and Verrett were both beyond fabulous. Was Sutherland afraid of being upstaged by Sills in this? Surely the music was not beyond her capabilities and should have been able to sparkle in the role as well. I would enjoy hearing from some of you, who often know more than me, why we don't have this performance. Suitherland certainly owned Semiramide by the same composer.
I can understand why she never did Armida, such a great vehicle for Maria, because it is just so difficult to cast with 4 or 5 tenors.


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## Rogerx (Apr 27, 2018)

I did take a look at her autobiography just now but in the index there is not one letter mention even from that opera, and it's a thorough index, if she ( Dame Joan) attended a performance even as guest it's mentioned. So far my two cents.


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## Woodduck (Mar 17, 2014)

Were Rossini's opera seria done much at all back then? _Semiramide_ was the only one I'd ever heard of until _Corinthe[/] was revived for Sills, and I dare say plenty of opera lovers have still never heard it. I don't remember anyone doing Armida in the '50s except Callas, and even she dropped it. There's been a Rossini revival and a generation of singers specializing in pre-Romantic opera, but I don't recall that getting under way until Sutherland was long in the tooth. I could be wrong in my time table; the past tends to run together these days._


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## Tsaraslondon (Nov 7, 2013)

Woodduck said:


> Were Rossini's opera seria done much at all back then? _Semiramide_ was the only one I'd ever heard of until _Corinthe[/] was revived for Sills, and I dare say plenty of opera lovers have still never heard it. I don't remember anyone doing Armida in the '50s except Callas, and even she dropped it. There's been a Rossini revival and a generation of singers specializing in pre-Romantic opera, but I don't recall that getting under way until Sutherland was long in the tooth. I could be wrong in my time table; the past tends to run together these days._


_

It could just be that the Rossini revival hadn't really started. Did Sutherland sing any Rossini other than *Semiramide*? Not according to Wikipedia. No doubt, if she'd been around today, there would be a whole host of Rossini roles in her repertoire.

There are some interesting performances before the 1959 Lucia made her a star, and she made her debut at Covent Garden in 1952, when her roles included the High Priestess in *Aida* and Clotilde in *Norma* when Callas was making her Covent Garden debut. Her first leading role was Amelia in *Un Ballo in Maschera*, and she also sang Wagner (Eva in *Die Meistersinger*, Helmwige, Woglinde and the Woodbird), as well as in Tippett's *Midsummer Marriage*!!_


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## Seattleoperafan (Mar 24, 2013)

Semiramide was at least known because of Bel Raggio, which was sung by those who could. It was perhaps the most spectacular aria on The Art of the Prima Donna. The Turk and Barber were done and I know Sutherland sang it at least in excerpt form of Barber on TV, but I believe Semiramide was the only serious Rossini opera done. Sutherland was well in her prime after Sills pioneered it around 71, and it was such a huge success someone must have suggested it to the Bonynges. I personally would include it in those one would have wished she had recorded. That last aria, which Sills and Caballe both sang beautifully,is one of the most beautiful and touching in the Rossini canon. Your points are very good and thanks for overlooking my initial boo boo


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