An interesting and not entirely satisfying read.

First, I should say, Sutherland was - for all her astounding talent - a reasonably ordinary person. Her upbringing was unremarkable, her career (while spectacular) was not a tempestuous one, her marriage and family life stable, and her hobbies included needlepoint and traveling. She was not the fiery Callas or the famously unreliable Sumi Jo. In this regard, the world wasn't crying out for a tell-all autobiography.

So, instead, we've been given what is essentially a diary of Sutherland's forty years in the business. (No, I'm not kidding, at several times Sutherland confirms she is taking this information from her diaries and elaborating on this where required.) This can of course be quite frustrating. Entire years pass in mere itemised lists of performances, colleagues, and reviews. Deaths and births are treated almost as offhandedly as the latest production of "Norma", doctors and friends get mentions largely because Sutherland didn't want to leave them out, and frequently she glosses over something it would've been fascinating to hear about. As a Melbournian arts worker, for instance, I was intrigued by her thoughts on the lack of performing venues in Melbourne until the Arts Centre came along, but she simply mentions her one (cancelled) concert scheduled there in 1985 and then moves on. (In the post-1985 sequences, more is revealed - presumably as Sutherland's memory was clearer - but it comes as quite a surprise when she expresses a strong negative opinion for once, in this instance her reaction when Pavarotti had to cancel on a recording session when it became clear he didn't know his part.)

As I mentioned above, this is not entirely surprising. A needlessly drawn out story of her childhood and training was unnecessary (and had been covered by existing biographers). As an opera buff myself, I really enjoyed this book. It's truly revealing the punishing schedule this elite art requires, and puts paid to some of the stories and stereotypes that have sprung up over the year. I really liked seeing the way works entered Sutherland's repertoire and remained there, and I'm always intrigued by how performers manage their schedule, so it was my kind of book.

Will it be everyone's? Probably not. When a paragraph exists merely to name-check the cast and venue of a performance (along with the specific dates from 1973), it's probably not going to be fascinating to all that many, particularly if you're not au fait with the opera and its roles.

Overall then, I'd advise amateur Sutherland fans or biography-hunters to seek out other material. But if you're deeply into the Dame, or if you have a connection with the world of opera, might be worth a look. ( )

The long awaited autobiography of ' La Stupenda ' the worlds most celebrated living soprano. From not particularly spectatcular musical beginnings, Joan Sutherland has built a world-conquering singing career. Born in] Australia between the wars, she came to prominence after winning a place at the Convent Garden opera School in her 20's. Roles in ' La Travista ', ' Lucia di Lammermoor ' and ' Alcina' bought tremendous reviews and headline attention. A woman of incredible musical talent, she matured to achieve legendary status in operatic circles, retaining a delightful personality and winning many friends over a 5 year career. Recalling her many encounters with the stars of our time she takes the reader behind the scenes and brings the world of Grand opera to life.