Pigeons and Doves Temporal range: Early Miocene – Recent
Feral Pigeon (Columba livia domestica) in flight
Scientific classification
Kingdom:	Animalia
Phylum:	Chordata
Subphylum:	Vertebrata
Class:	Aves
Order:	Columbiformes
Family:	Columbidae Illiger, 1811
Subfamilies
see article text
Geographic range of the Columbidae Family

Pigeons and doves constitute the bird family Columbidae within the order Columbiformes, which include some 300 species of near passerines. In general the terms "dove" and "pigeon" are used somewhat interchangeably. In ornithological practice, there is a tendency for "dove" to be used for smaller species and "pigeon" for larger ones, but this is in no way consistently applied, and historically the common names for these birds involve a great deal of variation between the terms "dove" and "pigeon." This family occurs worldwide, but the greatest variety is in the Indomalaya and Australasia ecozones. Young doves and pigeons are called "squabs."

Pigeons and doves are stout-bodied birds with short necks, and have short slender bills with a fleshy cere. The species commonly referred to just as "pigeon" is the Feral Rock Pigeon, common in many cities.

Doves and pigeons build relatively flimsy nests from sticks and other debris, which may be placed in trees, on ledges or on the ground, depending on species. They lay one or two eggs, and both parents care for the young, which leave the nest after 7 to 28 days.^[1] Doves feed on seeds, fruit and plants. Unlike most other birds (but see flamingo), the doves and pigeons produce "crop milk", which is secreted by a sloughing of fluid-filled cells from the lining of the crop. Both sexes produce this highly nutritious substance to feed to the young.

Biology[link]

Morphology[link]

The Common Ground Dove is among the smallest species in the family

Pigeons and doves exhibit considerable variations in size. The largest species is the crowned pigeon of New Guinea, which is nearly turkey-sized, at a weight of 2-4 kg (4.4-8.8 lb) The smallest is the New World ground-dove of the genus Columbina, which is the same size as a House Sparrow and weighs as little as 22 g.^[2] With a total length of more than 50 cm (19 in) and weight of almost 1 kg (2 lb), the largest arboreal species is the Marquesan Imperial Pigeon, while the Dwarf Fruit Dove, which may measure as little as 13 cm (5.1 in), has a marginally smaller total length than any other species from this family.^[2] Smaller species tend to be known as doves, while larger species as pigeons, but there is no taxonomic basis for distinguishing between the two.^[2]

Overall, the Columbidae tend to have short bills and legs, and small heads on large compact bodies. Their characteristic head bobbing was shown to be due to their natural desire to keep their vision constant in a 1978 experiment by B. J. Frost in which they were placed on treadmills - they did not bob their heads as their surroundings were constant.^[3]The wings are large and have low wing loadings; pigeons have strong wing muscles (wing muscles comprise 31–44% of their body weight) and are amongst the strongest fliers of all birds. They are also highly maneuverable in flight.

The plumage of the family is variable. Granivorous species tend to have dull plumage, with a few exceptions, whereas the frugivorous species have brightly-coloured plumage.^[2] The Ptilinopus fruit doves are some of the brightest coloured pigeons, with the three endemic species of Fiji and the Indian Ocean Alectroenas being amongst the brightest coloured. Pigeons and doves may be sexually monochromatic or dichromatic. In addition to bright colours pigeons may sport crests or other ornamentation.

Like some other birds, Columbidae have no gall bladders.^[4] Some medieval naturalists concluded that they have no gall, which in the medieval theory of the four humours explained the allegedly sweet disposition of doves.^[5] In fact, however, they do have gall (as Aristotle already realised), which is secreted directly into the gut.^[6]

Distribution and habitat[link]

The Common Bronzewing has a widespread distribution across all of Australia and lives in most habitat types except dense rainforest and the driest deserts

California High Desert Mourning Dove and Squabs Nesting in Protected Cactus Palace.

Pigeons and doves are distributed everywhere on Earth, except for the driest areas of the Sahara Desert, Antarctica and its surrounding islands and the high Arctic. They have colonised most of the world's oceanic islands, reaching eastern Polynesia and the Chatham Islands in the Pacific, Mauritius, the Seychelles and Réunion in the Indian Ocean, and the Azores in the Atlantic Ocean.

The family has adapted to most of the habitats available on the planet. The largest number of species is found in tropical forests and woodlands. These species may be arboreal, terrestrial or semi-terrestrial. Various species also inhabit savannas, grasslands, deserts, temperate woodlands and forests, mangrove forests, and even the barren sands and gravels of atolls.

Some species have large natural ranges. The Eared Dove ranges across the entirety of South America from Colombia to Tierra Del Fuego, the Eurasian Collared Dove has a massive (if discontinuous) distribution from Britain across Europe, the Middle East, India, Pakistan and China, and the Laughing Dove across most of sub-Saharan Africa as well as India, Pakistan and the Middle East. Other species have a tiny, restricted distribution; this is most common in island endemics. The Whistling Dove is endemic to the tiny Kadavu Island in Fiji, the Caroline Ground-dove is restricted to two islands, Truk and Pohnpei in the Caroline Islands and the Grenada Dove is restricted to Grenada in the Caribbean. Some continental species also have tiny distributions; for example the Black-banded Fruit Dove is restricted to a small area of the Arnhem Land of Australia, the Somali Pigeon is restricted to a tiny area of northern Somalia, and Moreno's Ground Dove is restricted to the area around Salta and Tucuman in northern Argentina.^[2]

The Zebra Dove has been widely introduced around the world.

The largest range of any species is that of the Rock Dove. This species had a large natural distribution from Britain and Ireland to northern Africa, across Europe, Arabia, Central Asia, India, the Himalayas and up into China and Mongolia. The range of the species increased dramatically upon domestication as the species went feral in cities around the world. The species is currently resident across most of North America, and has established itself in cities and urban areas in South America, sub-Saharan Africa, South East Asia, Japan, Australia and New Zealand. The species is not the only pigeon to have increased its range due to the actions of man; several other species have become established outside of their natural range after escaping captivity, and other species have increased their natural ranges due to habitat changes caused by human activity.^[2]

Diet[link]

The White-bellied Green Pigeon feeding on fruit

Seeds and fruit form the major component of the diet of pigeons and doves. In fact, the family can be divided into the seed eating or granivorous species (subfamily Columbinae) and the fruit eating or frugivorous species (the other four subfamilies). The granivorous typically feed on seed found on the ground, whereas the species that feed on fruit and mast tend to feed in trees. There are morphological adaptations that can be used to distinguish between the two groups, granivorous species tend to have thick walls in the gizzards, whereas the frugivores tend to have thin walls. In addition fruit eating species have short intestines whereas those that eat seeds have longer ones. Frugivores are capable of clinging to branches and even hang upside down to reach fruit.^[2]

In addition to fruit and seeds a number of other food items are taken by many species. Some species, particularly the ground-doves and quail-doves take a large number of prey items such as insects and worms. One species, the Atoll Fruit Dove is specialised in taking insect and reptile prey. Snails, moths and other insects are taken by White-crowned Pigeons, Orange Doves and Ruddy Ground Doves.^[2]

Evolutionary speculations[link]

Pigeons selectively eating wheat instead of rice grains

This family is a highly coherent group with no members showing obvious links with other bird families, or vice versa. The dodo and solitaires are clearly related, as discussed below, but equally lacking in obvious links with other bird families. The limited fossil record also consists only of unequivocal Columbidae species. Links to the sandgrouse and parrots have been suggested, but resemblances to the first group are due to convergent evolution^{[citation needed]} and the second depend on the parrot-like features of the Tooth-billed Pigeon. However, the distinctive features of that bird seem to have arisen from its specialized diet rather than a real relationship to the parrots^{[citation needed]}.

The family is usually divided into five subfamilies, but this is probably inaccurate. For example, the American ground and quail doves which are usually placed in the Columbinae seem to be two distinct subfamilies.^[7] The order presented here follows Baptista et al. (1997) with some updates (Johnson & Clayton 2000, Johnson et al. 2001, Shapiro et al. 2002).

The arrangement of genera and naming of subfamilies is in some cases provisional because analysis of different DNA sequences yield results that differ, often radically, in the placement of certain (mainly Indo-Australian) genera. This ambiguity, probably caused by long branch attraction, seems to confirm that the first pigeons evolved in the Australasian region, and that the "Treronidae" and allied forms (crowned and pheasant pigeons, for example) represent the earliest radiation of the group.

As the Dodo and Rodrigues Solitaire are in all likelihood part of the Indo-Australian radiation that produced the 3 small subfamilies mentioned above with the fruit doves and -pigeons (including the Nicobar Pigeon), they are here included as a subfamily Raphinae, pending better material evidence of their exact relationships.

Exacerbating these issues, columbids are not well represented in the fossil record. No truly primitive forms have been found to date. The genus Gerandia has been described from Early Miocene deposits of France, but while it was long believed^{[citation needed]} to be a pigeon it is more likely a sandgrouse^{[citation needed]}. Fragmentary remains of a probably "ptilinopine" Early Miocene pigeon were found in the Bannockburn Formation of New Zealand and described as Rupephaps; "Columba" prattae from roughly contemporary deposits of Florida is nowadays tentatively separated in Arenicolumba, but its distinctness from Patagioenas needs to be more firmly established. Apart from that, all other fossils belong to extant genera. For these, and for the considerable number of more recently extinct prehistoric species, see the respective genus accounts.

Genera[link]

A list of all the species, sortable by common and scientific name, is at list of Columbidae species

Family Columbidae

Emerald Dove, Chalcophaps indica, native to tropical southern Asia and Australia

Ruddy Ground Dove

Luzon Bleeding-heart Pigeon Gallicolumba crinigera, native to the Philippines

Victoria Crowned Pigeon Goura victoria in Bristol Zoo

Pied Imperial Pigeon, Ducula bicolor

The unusual Nicobar Pigeon, Caloenas nicobarica

• Subfamily Columbinae – typical pigeons & doves
  • Genus Columba including Aplopelia – Old World pigeons (33-34 living species, 2-3 recently extinct)
  • Genus Streptopelia including Stigmatopelia and Nesoenas^{[verification needed]} – turtledoves (14-18 living species)
  • Genus Patagioenas – American pigeons; formerly in Columba (17 species)
  • Genus Ectopistes – Passenger Pigeon; formerly Leptotilinae (extinct; 1914)
  • Genus Macropygia (10 species)
  • Genus Reinwardtoena (3 species)
  • Genus Turacoena (2 species)

• Subfamily N.N. – Bronzewings and relatives
  • Genus Turtur – African wood-doves (5 species; tentatively placed here)
  • Genus Oena – Namaqua Dove (tentatively placed here)
  • Genus Chalcophaps (2 species)
  • Genus Henicophaps (2 species)
  • Genus Phaps (3 species)
  • Genus Ocyphaps – Crested Pigeon
  • Genus Geophaps (3 species)
  • Genus Petrophassa – rock-pigeons (2 species)
  • Genus Geopelia (3–5 species)

• Subfamily Leptotilinae – Zenaidine and quail-doves
  • Genus Zenaida (7 species)
  • Genus Leptotila (11 species)
  • Genus Geotrygon – quail-doves (16 species)
  • Genus Starnoenas – Blue-headed Quail-Dove

• Subfamily Columbininae – American ground doves
  • Genus Columbina (7 species)
  • Genus Claravis (3 species)
  • Genus Metriopelia (4 species)
  • Genus Scardafella – possibly belongs into Columbina (2 species)
  • Genus Uropelia – Long-tailed Ground Dove

• Subfamily N.N. – Indopacific ground doves
  • Genus Gallicolumba (16-17 living species, 3-4 recently extinct)
  • Genus Trugon – Thick-billed Ground Pigeon

• Subfamily Otidiphabinae – Pheasant Pigeon
  • Genus Otidiphaps – Pheasant Pigeon

• Subfamily Didunculinae – Tooth-billed Pigeon
  • Genus Didunculus – Tooth-billed Pigeon

• Subfamily Gourinae – crowned pigeons
  • Genus Goura (3 species)

• Subfamily N.N. ("Treroninae") – green and fruit doves and imperial pigeons
  • Genus Ducula – imperial-pigeons (36 species)
  • Genus Lopholaimus – Topknot Pigeon
  • Genus Hemiphaga (2 species)
  • Genus Cryptophaps – Sombre Pigeon
  • Genus Gymnophaps – mountain-pigeons (3 species)
  • Genus Ptilinopus – fruit doves (some 50 living species, 1-2 recently extinct)
  • Genus Natunaornis – Viti Levu Giant Pigeon (prehistoric)
  • Genus Drepanoptila – Cloven-feathered Dove
  • Genus Alectroenas – blue pigeons (3 living species)

• Subfamily Raphinae – didines
  • Genus Raphus – Dodo (extinct; late 17th century)
  • Genus Pezophaps – Rodrigues Solitaire (extinct; c.1730)

• Placement unresolved
  • Genus Caloenas – Nicobar Pigeon
  • Genus Treron – green pigeons (23 species)
  • Genus Phapitreron – brown doves (3 species)
  • Genus Leucosarcia – Wonga Pigeon
  • Genus Microgoura – Choiseul Crested Pigeon (extinct; early 20th century)
  • Genus Dysmoropelia – Saint Helena Dove (extinct)
  • Genus Bountyphaps - Henderson Island Archaic Pigeon (prehistoric)

A Fantail fancy pigeon

Relationship with humans[link]

As food[link]

Several species of pigeon and dove are used as food, and probably any could be; the powerful breast muscles characteristic of the family make excellent meat. In Europe the Wood Pigeon is commonly shot as a game bird, while Rock Pigeons were originally domesticated as a food species, and many breeds were developed for their meat-bearing qualities. Mrs Beeton's Book of Household Management contains recipes for roast pigeon and pigeon pie, a popular inexpensive food in Victorian industrial Britain.^[8]

The extinction of the Passenger Pigeon was at least partly due to shooting for use as food. According to the Tanakh, doves are kosher, and they are the only birds that may be used for a korban. Other kosher birds may be eaten, but not brought as a korban.

Military[link]

The Dickin Medal for the pigeon Royal Blue.

The pigeon has contributed to both World War I and II, notably by the Australian, French, German, American, and UK forces. 32 Pigeons have been decorated with the Dickin Medal for war contributions, including Commando, G.I. Joe, Paddy, and William of Orange.

Cher Ami, a homing pigeon in World War I, was awarded the Croix de Guerre Medal with a palm Oak Leaf Cluster for his service in Verdun and for delivering the message that saved the Lost Battalion of the 77th Infantry Division in the Battle of the Argonne, October 1918. When Cher Ami died, he was mounted and is part of the permanent exhibit at the National Museum of American History of the Smithsonian Institution.^[9]

A grand ceremony was held in Buckingham Palace to commemorate a platoon of pigeons that braved the battlefields of Normandy to deliver vital plans to Allied forces on the fringes of Germany. Three of the actual birds that received the medals are on show in the London Military Museum so that well wishers can pay their respects.

Domestication[link]

The Rock Pigeon has been domesticated for hundreds of years. It has been bred into several varieties kept by hobbyists, of which the best known is the homing pigeon or racing homer. Other popular breeds are tumbling pigeons such as the Birmingham Roller and fancy varieties that are bred for certain physical characteristics, such as large feathers on the feet or fan-shaped tails. Domesticated Rock Pigeons are also bred as Carrier pigeons, used for thousands of years to carry brief written messages, and Release Doves used in ceremonies.

In religion[link]

In a dove house

In the Hebrew Bible, doves or young pigeons are acceptable burnt offerings for those who can't afford a more expensive animal. In the book of Genesis, Noah sent out a dove after the great flood in order to determine how far the floodwaters had receded. Dove is also a term of endearment in the Song of Songs and elsewhere.

Jesus' parents sacrificed doves on his behalf after his circumcision (Luke 2:24). Later the Holy Spirit descended upon Jesus at his baptism like a dove (Matthew 3:16), and subsequently the "peace dove" became a common Christian symbol of the Holy Spirit.

In Islam, doves and the pigeon family in general are respected and favoured because they are believed to have assisted the final prophet of Islam, Muhammad, in distracting his enemies outside the cave of Thaw'r in the great Hijra.

Threats and conservation[link]

While many species of pigeons and doves have benefited from human activities and have increased their ranges, many other species have declined in numbers and some have become threatened or even succumbed to extinction. Amongst the 10 species that have become extinct since 1600 (the conventional date for estimating modern extinctions) are two of the most famous extinct species, the Dodo and the Passenger Pigeon. The Passenger Pigeon was exceptional for a number of reasons, along with being the only pigeon species to have gone extinct in modern times that was not an island species. It was once the most numerous species of bird on Earth. Its former numbers are difficult to estimate but one ornithologist, Alexander Wilson, estimated that one flock he observed contained over two billion birds. The decline of the species was abrupt; in 1871 a breeding colony was estimated to contain over a hundred million birds, yet the last individual in the species was dead by 1914. Although habitat loss was a contributing factor, the species is thought to have been massively overhunted, being used as food for slaves and, later, the poor in the United States throughout the 19th century.

The Dodo, and its extinction, was more typical of the extinctions of pigeons in the past. Like many species that colonize remote islands with few predators it lost much of its anti-predator behaviour, along with its ability to fly. The arrival of people, along with a suite of other introduced species such as rats, pigs and cats, quickly spelt the end for this species and all the other island forms that have become extinct.

Around 59 species of pigeon and dove are threatened with extinction today, this is 19% of all species.^[10] Most of these are tropical and live on islands. All of the species threatened today are threatened by introduced predators, habitat loss and hunting, or a combination of these factors. In some cases they may be extinct in the wild, as is the Socorro Dove of Socorro Island, Mexico, which was driven to the extinction by habitat loss and introduced feral cats.^[11] In some areas a lack of knowledge means that the true status of a species is unknown; the Negros Fruit Dove has not been seen since 1953 and may or may not be extinct, and the Polynesian Ground Dove is classified as critically endangered as it is unknown whether it survives or not on remote islands in the far west of the Pacific Ocean.

Various conservation techniques are employed to prevent these extinctions. These include laws and regulations to control hunting pressure, the establishment of protected areas to prevent further habitat loss, the establishment of captive populations for reintroduction back into the wild (ex situ conservation) and the translocation of individuals to suitable habitat to create additional populations.

See also[link]

Birds portal

• Alphabetical species list
• Gamasoidosis
• War pigeon
• Peace dove
• Pigeon control
• Doves as symbols

References[link]

• Baptista, L. F.; Trail, P. W. & Horblit, H. M. (1997): Order Columbiformes. In: del Hoyo, J.; Elliott, A. & Sargatal, J. (editors): Handbook of birds of the world, Volume 4: Sandgrouse to Cuckoos. Lynx Edicions, Barcelona. ISBN 84-87334-22-9
• Blechman, Andrew, Pigeons: The Fascinating Saga of the World's Most Revered and Reviled Bird (Grove Press 2007) ISBN 978-0-8021-4328-0
• Gibbs, Barnes and Cox, Pigeons and Doves (Pica Press 2001) ISBN 1-873403-60-7
• Johnson, Kevin P. & Clayton, Dale H. (2000): Nuclear and Mitochondrial Genes Contain Similar Phylogenetic. Signal for Pigeons and Doves (Aves: Columbiformes). Molecular Phylogenetics and Evolution 14(1): 141–151. PDF fulltext
• Johnson, Kevin P.; de Kort, Selvino; Dinwoodey, Karen, Mateman, A. C.; ten Cate, Carel; Lessells, C. M. & Clayton, Dale H. (2001): A molecular phylogeny of the dove genera Streptopelia and Columba. Auk 118(4): 874-887. PDF fulltext
• Shapiro, Beth; Sibthorpe, Dean; Rambaut, Andrew; Austin, Jeremy; Wragg, Graham M.; Bininda-Emonds, Olaf R. P.; Lee, Patricia L. M. & Cooper, Alan (2002): Flight of the Dodo. Science 295: 1683. doi:10.1126/science.295.5560.1683 (HTML abstract) Supplementary information

Footnotes[link]

External links[link]

Wikiquote has a collection of quotations related to: Doves

Wikispecies has information related to: Columbidae

Wikimedia Commons has media related to: Columbidae

• Columbidae.org.uk Conservation of pigeons and doves
• Dove videos on the Internet Bird Collection
• Dove sounds

Madeline Kahn (September 29, 1942 – December 3, 1999) was an American actress. Kahn was known primarily for her comic roles in films such as Paper Moon, Young Frankenstein, Blazing Saddles, What's Up, Doc?, and Clue.

Early life[link]

Kahn was born Madeline Gail Wolfson in Boston, the daughter of Paula Kahn and Bernard B. Wolfson, who was a garment manufacturer.^[1][2] She was raised in a non-observant Jewish family.^[3] Her parents divorced when Kahn was two, and she and her mother moved to New York City. Several years later her parents remarried others and gave Kahn two half-siblings: Jeffrey (from her mother) and Robyn (from her father).

In 1948, Kahn was sent to a progressive boarding school in Pennsylvania and stayed there until 1952. During that time, her mother pursued her acting dream. Kahn soon began acting herself and performed in a number of school productions. In 1960, she graduated from Martin Van Buren High School in Queens, where she earned a drama scholarship to Hofstra University on Long Island. At Hofstra, she studied drama, music, and speech therapy. After changing her major a number of times, Kahn graduated from Hofstra in 1964 with a degree in speech therapy. She was a member of a local sorority on campus, Delta Chi Delta.

Career[link]

When asked on television by Kitty Carlisle Hart and Charles Nelson Reilly (available on YouTube) how she began the opera aspect of her career she said, "It's so hard to determine exactly when I began or why, singing. The Muse was definitely not in attendance. I'll tell you exactly."  She was a singing waitress at a Bavarian restaurant called Bavarian Manor, a Hofbräuhaus in upstate New York, while she was a college student, to earn money. She sang musical comedy numbers during showtime, "There was a really important customer there, a big Italian man, who shouted out to me, "sing 'Madame Butterfly," and of course he didn't  mean the whole Opera. He meant that one very popular aria, 'un Bel Di.' So if I was to come back the next summer to earn more money during the next year I'd better know that aria. You know, and I didn't know anything about it; I just learnt that one aria and a few others and then one thing led to another and I studied that, and I discovered that I could sing that, sort of, that way. But my first actual thing that I did was Candide for Leonard Bernstein's 50th birthday at Philharmonic Hall. At the time that's what it was called. And I don't know if that was an opera but it was very hard to sing. I actually have done Musetta in La Boheme a long time ago in  Washington DC. I mean, utterly terrifying. I mean basically I feel as though I was asked to do it and I did it."

Kahn began auditioning for professional acting roles shortly after her graduation from Hofstra; on the side, she briefly taught public school in Levittown, New York. Just before adopting the professional name Madeline Kahn (Kahn was her mother's maiden name), she made her stage debut as a chorus girl in a revival of Kiss Me, Kate, which led her to join Actors' Equity. Her part in the flop How Now, Dow Jones was written out before the 1967 show reached Broadway, as was her role as Miss Whipple in the original production of Promises, Promises. She earned her first break on Broadway with New Faces of 1968. That same year, she performed her first professional lead in a special concert performance of the operetta Candide in honor of Leonard Bernstein's 50th birthday. In 1969, she appeared Off Broadway in the musical Promenade.

She appeared in two Broadway musicals in the 1970s: a featured role in Richard Rodgers' 1970 Noah's Ark-themed show Two by Two (her silly waltz "The Golden Ram," capped by a high C, can be heard on the show's cast album) and a leading lady turn as Lily Garland in 1978's On the Twentieth Century. She left (or was fired from) the latter show early in its run, yielding the role to her understudy, Judy Kaye, whose career it launched. She also starred in a 1977 Town Hall revival of She Loves Me (opposite Barry Bostwick and original London cast member Rita Moreno).

Kahn's film debut was in the 1968 short De Düva (The Dove). Her feature debut was as Ryan O'Neal's hysterical fiancée in Peter Bogdanovich's screwball comedy What's Up, Doc? (1972) starring Barbra Streisand. Her film career continued with Paper Moon (1973), for which she was nominated for an Academy Award for Best Supporting Actress. Kahn was cast in the role of Agnes Gooch in the 1974 film Mame, but star Lucille Ball fired Kahn due to artistic differences. (Note: several of Ball's biographies note that Kahn was eager to be released from the role so that she could join the cast of Blazing Saddles, a film about to go into production; whether Kahn was fired or left Mame under mutual agreement is undetermined. However, Kahn stated in a 1996 Charlie Rose interview that she had indeed been fired from Mame.^[4])

A close succession of Kahn comedies — Blazing Saddles (1974), Young Frankenstein (1974), and High Anxiety (1977) — were all directed by Mel Brooks, who many Hollywood observers claimed was able to bring out the best of Kahn's comic talents. Their last collaboration was 1981's History of the World, Part I. For Blazing Saddles, she was again nominated for an Academy Award for Best Supporting Actress. In the April 2006 issue of Premiere magazine, her performance as Lili von Shtupp in Saddles was selected as #74 on its list of the 100 greatest performances of all time.^[5] In 1978, Kahn's comic screen persona reached another peak with Neil Simon's The Cheap Detective (1978), a spoof of both Casablanca and The Maltese Falcon, directed by Robert Moore. In the film she befuddles Peter Falk's gumshoe with an array of fake identities.

Kahn's roles were primarily comedic rather than dramatic, though the 1970s found her originating roles in two plays that had both elements: 1974's In the Boom Boom Room and 1977's Marco Polo Sings a Solo. After her success in Brooks' films, she played in a number of less successful films in the 1980s (perhaps most memorably as Mrs. White in the 1985 film Clue). She also performed in the movie The Adventure of Sherlock Holmes' Smarter Brother (1975) opposite Gene Wilder, the animation film My Little Pony: The Movie (1986), the holiday farce Mixed Nuts (1994) and a cameo in 1979's The Muppet Movie.

In 1983, she starred in her own short-lived TV sitcom, Oh Madeline, which ended after only one season due to poor ratings. In 1986 she starred in ABC Comedy Factory's pilot episode of Chameleon, which never aired on the fall schedule; it co-starred Nina Foch. In 1987, Kahn won a Daytime Emmy award for her performance in the ABC Afterschool Special, Wanted: The Perfect Guy.

Late in her career, Kahn returned to the stage, first in Judy Holliday's role in a 1989 revival of Born Yesterday, then as Dr. Gorgeous in Wendy Wasserstein's 1993 play The Sisters Rosensweig, a role that earned her a Tony Award. She played the corrupt mayor (Angela Lansbury's role) in a concert performance of Anyone Can Whistle that was released on CD. She also continued to appear in movies.

In the early 1990s, Kahn recorded a voice for the animated movie The Magic 7. Her most notable role at that time was on the sitcom Cosby (1996–2000) as Pauline, the eccentric neighbor. She also voiced Gypsy the moth in A Bug's Life (1998). Kahn received some of the best reviews of her career for her Chekhovian turn in the 1999 independent movie Judy Berlin, her final film.

Illness and death[link]

Madeline Kahn was diagnosed with ovarian cancer in early 1999. She underwent treatment and continued to work, continuing her role on Cosby. Kahn married her long-time companion, John Hansbury, in October 1999.^[6] The disease progressed very rapidly and she died December 3, 1999 in New York City.^[7] She was 57 years old. In Central Park, there is a bench erected by her husband and her brother, dedicated in her memory. Her remains were cremated.

Work[link]

Awards and nominations[link]

Award wins:

• 1987 Daytime Emmy for Outstanding Performer in children's programming for ABC Afterschool Special
• 1993 Tony Award for Best Actress in a play for The Sisters Rosenweig

Award nominations:

• 1973 Golden Globe for Most Promising Newcomer for What's Up Doc?
• 1974 Golden Globe for Best Supporting Actress for Paper Moon
• 1974 Academy Award for Best Supporting Actress for Paper Moon
• 1974 Tony Award for Best Actress in a play for Boom Boom Boom
• 1975 Golden Globe for Best Supporting Actress for Young Frankenstein
• 1975 Academy Award for Best Supporting Actress for Blazing Saddles
• 1978 Tony Award for Best Actress in a musical for On the Twentieth Century
• 1989 Tony Award for Best Actress in a play for Born Yesterday

References[link]

External links[link]

• Madeline Kahn at the Internet Broadway Database
• Madeline Kahn at the Internet Off-Broadway Database
• Madeline Kahn at the Internet Movie Database
• Madeline Kahn at TV Tropes
• Madeline Kahn at Find a Grave

Joan Sutherland in 1975

Dame Joan Alston Sutherland, OM, AC, DBE (7 November 1926 – 10 October 2010)^[1] was an Australian dramatic coloratura soprano noted for her contribution to the renaissance of the bel canto repertoire from the late 1950s through to the 1980s.

One of the most remarkable female opera singers of the 20th century, she was dubbed La Stupenda by a La Fenice audience in 1960 after a performance of the title role in Handel's Alcina. She possessed a voice of beauty and power, combining extraordinary agility, accurate intonation, "supremely" pinpoint staccatos,^[2] a splendid trill and a tremendous upper register, although music critics often complained about the imprecision of her diction.^[3] Her friend Luciano Pavarotti once called Sutherland the "Voice of the Century"; Montserrat Caballé described the Australian's voice as being like "heaven".

Early life and career[link]

Joan Sutherland was born to Scottish parents in Sydney, and attended St Catherine's School in the suburb of Waverley, New South Wales. As a child, she listened to and imitated her mother's singing exercises. Her mother, a mezzo-soprano, had taken voice lessons but never considered making a career as a professional singer. Sutherland was 18 years old when she began seriously studying voice with John and Aida Dickens. She made her concert debut in Sydney, as Dido in Purcell's Dido and Aeneas, in 1947. In 1951, she made her stage debut in Eugene Goossens's Judith. In 1951, after winning Australia's most important competition, the Sun Aria, now known as the Sydney Eisteddfod McDonald's Operatic Aria in 1949.^[4] She then went to London to further her studies at the Opera School of the Royal College of Music with Clive Carey. She was engaged by the Royal Opera House, Covent Garden, as a utility soprano, and made her debut there on 28 October 1952, as the First Lady in The Magic Flute, followed in November by a few performances as Clotilde in Vincenzo Bellini's Norma, with Maria Callas as Norma.

Being an admirer of Kirsten Flagstad in her early career, she trained to be a Wagnerian dramatic soprano. In December 1952, she sang her first leading role at the Royal Opera House, Amelia in Un ballo in maschera. Other roles included Agathe in Der Freischütz, the Countess in The Marriage of Figaro, Desdemona in Otello, Gilda in Rigoletto, Eva in Die Meistersinger von Nürnberg, and Pamina in The Magic Flute. In 1953, she sang the role of Lady Rich in Benjamin Britten's Gloriana a few months after its world premiere, and created the role of Jennifer in Michael Tippett's The Midsummer Marriage, on 27 January 1955.

Sutherland married Australian conductor and pianist Richard Bonynge on 16 October 1954. Their son, Adam, was born in 1956. Bonynge gradually convinced her that Wagner might not be her Fach, and that since she could produce high notes and coloratura with great ease, she should perhaps explore the bel canto repertoire. She eventually settled in this Fach, spending most of her career singing dramatic coloratura soprano.

In 1957, she appeared in Handel's Alcina with the Handel Opera Society, and in Donizetti's Emilia di Liverpool, in which performances her bel canto potential was clearly demonstrated, vindicating her husband's judgement. The following year she sang Donna Anna in Don Giovanni in Vancouver.

In 1958, at the Royal Opera House, after singing, "Let the Bright Seraphim", from Handel's oratorio, Samson, she received a ten minute-long standing ovation.^{[citation needed]}

La Stupenda[link]

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.^[5] It was a breakthrough for Sutherland's career, and, upon the completion of the famous Mad Scene, she had become a star. In 1960, she recorded the album The Art of the Prima Donna, which remains today one of the most recommended opera albums ever recorded: the double LP set won the Grammy Award for Best Classical Performance – Vocal Soloist in 1962. The album, a collection consisting mainly of coloratura arias, displays her seemingly effortless coloratura ability, high notes and opulent tones, as well as her exemplary trill. The album was added to the National Film and Sound Archive's Sounds of Australia registry in 2011.^{[citation needed]}

By the beginning of the 1960s, Sutherland had already established a reputation as a diva with a voice out of the ordinary. She sang Lucia to great acclaim in Paris in 1960 and, in 1961, at La Scala and the Metropolitan Opera. In 1960, she sang a superb Alcina at La Fenice, Venice, where she was nicknamed La Stupenda ("The Stunning One"). 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,^[6] her last appearance there was a concert on 12 March 1989.^[7] During the 1978–82 period her relationship with the Met severely 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.^[8]

During the 1960s, Sutherland had added the greatest heroines of bel canto ("beautiful singing") 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, which became one of her most popular roles, because of her perfect coloratura and lively, funny interpretation.

In 1965, Sutherland toured Australia with the Sutherland-Williamson Opera Company. Accompanying her was a young tenor named Luciano Pavarotti, and the tour proved to be a major milestone in Pavarotti's career. Every performance featuring Sutherland sold out.

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 extremely difficult Esclarmonde, a role that few sopranos attempt. With Pavarotti she made a very successful studio-recording of Turandot in 1972 under the baton of 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.^[9] 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.^[10] She clearly took the criticism to heart, as, within a few years, her diction improved markedly and she continued to amaze and thrill audiences throughout the world.

In the late 1970s, Sutherland's voice started to decline and her vibrato loosened to an intrusive extent. However, thanks to her vocal agility and solid technique, she continued singing the most difficult roles amazingly well. During the 1980s, she 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,^[11] her biggest achievement was to sing the title role in Esclarmonde. She considered those performances and recordings her best.

Retirement years[link]

Joan Sutherland in 1990

After retirement, Sutherland made relatively few public appearances, preferring a quiet life at her home in Les Avants, Switzerland. One exception was her 1994 address at a lunch organised by Australians for Constitutional Monarchy. In that address, she complained about having to be interviewed by a clerk of Chinese or Indian background when applying to renew her Australian passport. Her comments caused controversy among some sections of the community at the time.^[12][13]

Sutherland had a leading role as Mother Rudd in the 1995 comedy film Dad and Dave: On Our Selection opposite Leo McKern and Geoffrey Rush.^[14]

In 1997 she published an autobiography, The Autobiography of Joan Sutherland: A Prima Donna's Progress. It received generally scathing reviews for its literary merits,^[15] but it does contain a complete list of all her performances, with full cast lists.

Her official biography, Joan Sutherland: The Authorised Biography, published in February 1994, was written by Norma Major, wife of the then prime minister John Major.^[16]

In 2002 she appeared at a dinner in London to accept the Royal Philharmonic Society's gold medal. She gave an interview to The Guardian in which she lamented the lack of technique in young opera singers and the dearth of good teachers.^[11] By this time she was no longer giving master classes herself; when asked by Italian journalists in May 2007 why this was, she replied: "Because I'm 80 years old and I really don't want to have anything to do with opera any more, although I do sit on the juries of singing competitions."^[17] The Cardiff Singer of the World competition was the one that Sutherland was most closely associated with after her retirement. She began her regular involvement with the event in 1993, serving on the jury five consecutive times and later, in 2003, becoming its patron.^[18]

On 3 July 2008, she fell and broke both of her legs while gardening at her home in Switzerland.^[19] She completely recovered and attended a 2009 luncheon hosted by Queen Elizabeth at Buckingham Palace in honour of members of the Order of Merit.

Death[link]

On 11 October 2010, Sutherland's family announced that she had died at her home at Les Avants in Switzerland the previous day of cardiopulmonary failure – "the heart just gave out...When it came to the point that she physically couldn't do anything, she didn't want to live any more. She wanted to go, she was happy to go, and in the end she died very, very peacefully."^[20][21][22] Though she recovered from her fall in 2008, it led to more serious health problems.^[23] A statement from her family said "She's had a long life and gave a lot of pleasure to a lot of people." Sutherland had requested a small, private funeral service.^[20] Her funeral was held on 14 October and Opera Australia planned a tribute to her.^[23] Artistic director of Opera Australia, Lyndon Terracini, said "We won't see her like again. She had a phenomenal range, size and quality of voice. We simply don't hear that any more."^[23] Sutherland is survived by her husband, son, daughter-in-law and two grandchildren.^[24][25]

Australian Prime Minister Julia Gillard said, "She was of course one of the great opera voices of the 20th century," adding that Dame Joan showed a lot of "quintessential Australian values. She was described as down to earth despite her status as a diva. On behalf of all Australians I would like to extend my condolences to her husband Richard and son Adam and their extended family at this difficult time. I know many Australians will be reflecting on her life's work today."^[26]

Memorial service[link]

A State Memorial Service on 9 November 2010, arranged by Opera Australia, was held at the Sydney Opera House.^[27] Speakers at the service were Julia Gillard, Prime Minister of Australia; Professor Marie Bashir, the Governor of New South Wales; Moffatt Oxenbould, the former Artistic Director of Opera Australia; and Sutherland's son, Adam Bonynge. The service was broadcast live by both ABC1 television and ABC Classic FM (radio) and streamed globally by ABC News 24. Further memorial services were held in Westminster Abbey on 15 February 2011,^[28] and in New York City on 24 May 2011, which was hosted by Marilyn Horne with an appearance by Richard Bonynge. In attendance were Sherrill Milnes, Norman Ayrton, Regina Resnick, and Spiro Malas.

Voice[link]

Vocal timbre[link]

Described as "fresh," "silvery" and "bell-like" until 1963,^[29] Joan Sutherland's voice, later became "golden" and "warm",^[2] music critic John Yohalem writes it was like "molten honey caressing the line."^[29] In his book "Voices, Singers and Critics", John Steane writes that "if the tonal spectrum ranges from bright to dark, Sutherland's place would be near the centre, which is no doubt another reason for her wide appeal."^[2] According to John Yohalem, "Her lower register was a cello register, Stradivarius-hued."^[29] Her voice was full and rounded even in her highest notes,^[30] which was brilliant, but sometimes "slightly acid."^[31]

In 1971, Time writes an article comparing Sutherland and Beverly Sills,

"Originally bright and youthful-sounding, her voice darkened as she transformed herself into a coloratura. There is a suggestion of Callas' famous middle register in Sutherland's vocal center—a tone that sounds as if the singer were singing into the neck of a resonant bottle. Today the Sutherland voice towers like a natural wonder, unique as Niagara or Mount Everest. Sills' voice is made of more ordinary stuff; what she shares with Callas is an abandon in hurling herself into fiery emotional music and a willingness to sacrifice vocal beauty for dramatic effect. Sutherland deals in vocal velvet, Sills in emotional dynamite. Sutherland's voice is much larger, but its plush monochrome robs it of carrying power in dramatic moments. Sills' multicolored voice, though smaller, projects better and has a cutting edge that can slice through the largest orchestra and chorus. Sometimes, indeed, it verges on shrillness. [...] In slow, legato music, Sills has a superior sense of rhythm and clean attack to keep things moving; Sutherland's more flaccid beat and her style of gliding from note to note often turn song into somnolence. Sills' diction in English, French and Italian is superb; Sutherland's vocal placement produces mushy diction in any language, but makes possible an even more seamless beauty of tone than is available to Sills."^[32]

Describing Sutherland's voice, John Yohalem writes:

On my personal color scale, which runs from a voluptuous red (Tebaldi) or blood-orange (Leontyne Price) or purple (Caballé) or red-purple (Troyanos) to white-hot (Rysanek) or runny yellow-green (Sills), Sutherland is among the “blue” sopranos – which has nothing to do with “blues” in the pop sense of the term. (Ella Fitzgerald had a blue voice, but Billie Holiday had a blues voice, which is very different.) Diana Damrau is blue. Mirella Freni is blue-ish. Karita Mattila is ice blue. Regine Crespin was deep blue shading to violet. Sutherland was true blue (like the Garter ribbon). There is a coolness here that can take on the passion in the music but does not inject passion where the music lacks it, could possibly use it.^[29]

Vocal category, size and range[link]

Although she is generally described as a dramatic coloratura soprano, "categorizing Sutherland's voice has always been extremely difficult, both the size and the sound present definitional problems [...] Aside from singing some roles popular amongst coloratura sopranos, Sutherland’s voice could not be more different."^[2]

In a 1961 profile in The New York Times Magazine, Sutherland 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."^[33]

Regarding the size of Sutherland's voice, Opera Britannia praise "a voice of truly heroic dimensions singing bel canto. It is doubtful if any soprano in this repertoire has fielded quite so much power and tone as Dame Joan, and this includes Callas and Tetrazzini. The contrast with other sopranos who sing the same roles is appropriately enough stupendous, with rival prima donnas producing small pin points of sound as compared to Sutherland's seemingly endless cascades of full tone."^[2] In 1972, music critic Winthrop Sargeant describes her voice "as large as that of a top-ranking Wagnerian soprano" in the The New Yorker.^[34] French soprano Natalie Dessay states, "She had a huge, huge voice and she was able to lighten suddenly and to take this quick coloratura and she had also the top high notes like a coloratura soprano but with a big, huge voice, which is very rare."^[35]

Sutherland's vocal range extended from G below the staff (G₃)^[33] to high F (F₆), or high F-sharp (F♯₆), although she never sang this last note in a public performance.^[2][36]

Honours and awards[link]

During her career and after, Sutherland received many honours and awards. In 1961, she was made a Commander of the Order of the British Empire (CBE).^[37] That year she was named the Australian of the Year.^[38]

In the Queen's Birthday Honours of 9 June 1975, she was in the first group of people to be named Companions of the Order of Australia (AC) (the order had been created only in February 1975).^[39] She was elevated within the Order of the British Empire from Commander to Dame Commander (DBE) in the New Year's Honours of 1979.^[40]

On 29 November 1991, the Queen bestowed on Dame Joan the Order of Merit (OM).^[41] In January 2004 she received the Australia Post Australian Legends Award which honours Australians who have contributed to the Australian identity and culture. Two stamps featuring Joan Sutherland were issued on Australia Day 2004 to mark the award. Later in 2004, she received a Kennedy Center Honor for her outstanding achievement throughout her career.

Sutherland House and the Dame Joan Sutherland Centre, both at St Catherine's School, Waverley, and the Joan Sutherland Performing Arts Centre (JSPAC), Penrith, are all named in her honour.^[42]

John Paul College, a leading private school in Queensland, Australia, dedicated its newly established facility the Dame Joan Sutherland Music Centre in 1991. Sutherland visited the centre for its opening and again in 1996.

In 2012, Sutherland was voted into Gramophone Magazine's first Hall of Fame.^[43]

Roles[link]

Sutherland performed live the following complete roles.^[44]

Recordings[link]

Recordings include:

Vincenzo Bellini

• Beatrice di Tenda—Joan Sutherland (Beatrice), Luciano Pavarotti (Orombello), Cornelius Opthof (Filippo), Josephine Veasey (Agnese), Joseph Ward (Anichino/Rizzardo), Ambrosian Opera Chorus, London Symphony Orchestra, Richard Bonynge—Decca
• I puritani—Joan Sutherland (Elvira), Pierre Duval (Arturo), Renato Capecchi (Riccardo), Ezio Flagello (Giorgio), Giovanni Fioiani (Gualtiero), Margreta Elkins (Enrichetta), Piero de Palma (Bruno), Coro e Orchestra del Maggio Musicale Fiorentino, Richard Bonynge (conductor) –recorded 1963– Decca 448 969-2 / Decca 467 789-2 (part of a 10-CD set) / London POCL 3965-7
• I puritani—Joan Sutherland (Elvira), Luciano Pavarotti (Arturo), Piero Cappuccilli (Riccardo), Nicolai Ghiaurov (Giorgio), Giancarlo Luccardi (Gualtiero), Anita Caminada (Enrichetta), Renato Cazzaniga (Bruno), Chorus of the Royal Opera, Covent Garden, London Symphony Orchestra—Richard Bonynge, Recorded 1973, Decca
• La sonnambula—Joan Sutherland (Amina), Nicola Monti (Elvino), Fernando Corena (Rodolfo), Sylvia Stahlman (Lisa), Margreta Elkins (Teresa), Angelo Mercuriali (Notary), Giovanni Fioiani (Alessio), Coro e Orchestra del Maggio Musicale Fiorentino, Richard Bonynge recorded 1962—Decca 00289 448 9662 6 / 000320702 / 455 823-2—Track listing
• La sonnambula—Joan Sutherland (Amina), Luciano Pavarotti (Elvino), Nicolai Ghiaurov (Rodolfo), Isobel Buchanan (Lisa), Della Jones (Teresa), Piero De Palma (Notaro), John Tomlinson (Alessio), National Philharmonic Orchestra, London Opera Chorus, Richard Bonynge, recorded 1980—Decca 2LH417-424
• Norma—Joan Sutherland (Norma), Marilyn Horne (Adalgisa), John Alexander (Pollione), Richard Cross (Oroveso), Yvonne Minton (Clotilde), Joseph Ward (Flavio), London Symphony Orchestra and Chorus, Richard Bonynge, Recorded 1964—Decca
• Norma—Joan Sutherland (Norma), Margreta Elkins (Adalgisa), Ronald Stevens (Pollione), Clifford Grant (Oroveso), Etela Piha (Clotilde), Trevor Brown (Flavio), Opera Australia Chorus, Elizabethan Sydney Orchestra, Richard Bonynge, recorded 1978—DVD Arthaus Musik 100 180
• Norma—Joan Sutherland (Norma), Montserrat Caballé (Adalgisa), Luciano Pavarotti (Pollione), Samuel Ramey (Oroveso), Diana Montague (Clotilde), Kim Begley (Flavio), Chorus and Orchestra of the Welsh National Opera, Richard Bonynge, Recorded 1984—Decca

Georges Bizet

• Carmen—Regina Resnik (Carmen), Mario Del Monaco (Don Jose), Joan Sutherland (Micaëla), Tom Krause (Escamillo), Georgette Spanellys (Frasquita), Yvonne Minton (Mercedes), Robert Geay (Zuniga), Jean Prudent (Le Dancaire), Alfred Hallet (Le Remendado), Claude Cales (Morales)

Giovanni Battista Bononcini

• Griselda—Joan Sutherland (Griselda), Lauris Elms (Ernesto), Monica Sinclair (Gualtiero), Margreta Elkins (Almirena), Spiro Malas (Rambaldo), Ambrosian Opera Chorus, London Philharmonic Orchestra, Richard Bonynge, recorded 1967. Decca 448 977-2 (coupled with Montezuma)

Léo Delibes

• Lakmé—Joan Sutherland (Lakmé), Gabriel Bacquier (Nilakantha), Jane Berbié (Malika), Émile Belcourt (Hadji), Alain Vanzo (Gérald), Monte Carlo Opera Chorus, Orchestre National de l'Opéra de Monte-Carlo, Richard Bonynge, Recorded 1968, Decca Records.

Gaetano Donizetti

• Emilia di Liverpool (excerpts) / Lucia di Lammermoor (excerpts)—Joan Sutherland (Lucia), Margreta Elkins (Alisa), Joao Gibin (Edgardo), Tullio Serafin (conductor). Recorded 26 February 1959—Myto Records MCD 91545 (Probably these are excerpts from the same performance as the Melodram recording.)
• Lucia di Lammermoor—Joan Sutherland (Lucia), Renato Cioni (Edgardo), Robert Merrill (Enrico), Cesare Siepi (Raimondo), Chorus & Orchestra of the Accademia di Santa Cecilia, John Pritchard (conductor), Decca, 1961.
• Lucia di Lammermoor—Joan Sutherland (Lucia), Luciano Pavarotti (Edgardo), Sherrill Milnes(Enrico), Nicolai Ghiaurov (Raimondo), Chorus & Orchestra of the Royal Opera House, Covent Garden, Richard Bonynge, Decca, 1971.
• Lucia di Lammermoor—Joan Sutherland (Lucia), João Gibin (Edgardo), John Shaw (Enrico), Joseph Rouleau (Raimondo), Kenneth MacDonald (Arturo), Margreta Elkins (Alisa), Robert Bowman (Normanno), Chorus & Orchestra of the Royal Opera House, Covent Garden, Tullio Serafin, recorded 1959—Golden Melodram GM 50024 or Giuseppe di Stefano GDS 21017 or Bella Voce BLV 107 218 (highlights). 2006 release: Royal Opera House Heritage Series ROHS 002.
• Lucia di Lammermoor—Joan Sutherland (Lucia), André Turp (Edgardo), John Shaw (Enrico), Joseph Rouleau (Raimondo), Kenneth MacDonald (Arturo), Margreta Elkins (Alisa), Edgar Evans (Normanno), Chorus & Orchestra of the Royal Opera House, Covent Garden, John Pritchard, recorded 1961—Celestial Audio CA 345
• Lucia di Lammermoor—Joan Sutherland (Lucia), Richard Tucker (Edgardo), Frank Guarrera (Enrico), Nicola Moscona (Raimondo), Robert Nagy (Normanno), Thelma Votipka (Alisa), Charles Anthony (Arturo), Metropolitan Opera House, Conductor: Silvio Varviso. Recorded 9 December 1961 for radio broadcasting.
• La fille du régiment—Joan Sutherland (Marie), Luciano Pavarotti (Tonio), Monica Sinclair (La Marquise de Berkenfield), Jules Bruyère (Hortensius), Spiro Malas (Sulpice), Eric Garrett (Le Caporal), Edith Coates (La Duchesse de Crakentorp), Orchestra & Chorus of the Royal Opera House, Covent Garden, Richard Bonynge. Recorded: Kingsway Hall, London, 17–28 July 1967. Original LP release: SET 372-3 (two LPs), CD release: 414 520-2 DH2 (two CDs).
• L'elisir d'amore—Joan Sutherland (Adina), Luciano Pavarotti (Nemorino), Dominic Cossa (Belcore), Spiro Malas (Dulcamara), Maria Casula (Giannetta), Ambrosian Opera Chorus, English Chamber Orchestra, Richard Bonynge. Recorded: Kingsway Hall, London, 12–23 January and 1–10 July 1970. Original LP release: SET 503-5 (three LPs), CD release: 414 461-2 DH2 (two CDs), CD re-release: 475 7514 DOR2 (two CDs).
• Lucrezia Borgia—Joan Sutherland (Lucrezia Borgia), Ronald Stevens (Gennaro), Margreta Elkins (Maffio Orsini), Richard Allman (Don Alfonso), Robin Donald (Jacopo Liveretto), Lyndon Terracini (Don Apostolo Gazella), Gregory Yurisich (Ascanio Petrucci), Lamberto Furlan (Oloferno Vitellozzo), Pieter Van der Stolk (Gubetta), Graeme Ewer (Rustighello), John Germain (Astolfo), Neville Grave (Un servo), Eddie Wilden (Un coppiere), Jennifer Bermingham (Principessa Negroni), Australian Opera Chorus, Sydney Elizabethan Orchestra, Richard Bonynge, recorded 1977. VHS Video Cassette—Castle Video CV2845 (PAL); Polygram-Vidéo 070 031-3 (SECAM) Polygram 079 261-3 (PAL)
• Lucrezia Borgia—Joan Sutherland (Lucrezia), Giacomo Aragall (Gennaro), Marilyn Horne (Orsini), Ingvar Wixell (Alfonso), London Opera Chorus, National Philarmonic Orchestra, Richard Bonynge (conductor), Decca, 1977.
• Maria Stuarda—Joan Sutherland (Maria), Huguette Tourangeau (Elisabeta), Luciano Pavarotti (Leicester), Roger Soyer (Talbot), Margreta Elkins (Anna), James Morris (Cecil), Coro del Teatro Comunale di Bologna, Orchestra del Teatro Comunale di Bologna, Richard Bonynge, recorded 1975—Decca 00289 425 4102 / Lyrica LRC 1040/1041—Track listing and excerpts

Charles Gounod

• Faust—Joan Sutherland (Marguerite), Franco Corelli (Faust), Nicolai Ghiaurov (Méphistophélès), Robert Massard (Valentin), Margreta Elkins (Siébel), Monica Sinclair (Marthe), Raymond Myers (Wagner), Ambrosian Opera Chorus and Highgate School Choir, London Symphony Orchestra, Richard Bonynge, Decca 0289 4705632 4 (2002 release) / 421 240-2 (1991 release) / 467 059-2 / London POCL 3962-4 Track listing and audio samples

George Frideric Handel

• Alcina—Joan Sutherland (Alcina), Margreta Elkins (Ruggiero), Lauris Elms (Bradamante), Richard Greager (Oronte), Narelle Davidson (Morgana), Ann-Maree McDonald (Oberto), John Wegner (Melisso), Chorus and Orchestra of Australian Opera, Richard Bonynge, recorded 1983. Celestial Audio CA 112
• Alcina coupled with Giulio Cesare in Egitto (highlights)—Margreta Elkins (Giulio Cesare), Joan Sutherland (Cleopatra), Marilyn Horne (Cornelia), Monica Sinclair (Tolomeo), Richard Conrad (Sesto), New Symphonic Orchestra of London, Richard Bonynge—Decca 00289 433 7232 / 467063-2 / 467 067-2—Track listing and excerpts
• Athalia—Joan Sutherland, Emma Kirkby, Aled Jones, James Bowman, Anthony Rolfe Johnson, David Thomas, The Academy of Ancient Music, Christopher Hogwood (Conductor)
• Messiah—Joan Sutherland, Grace Bumbry, London Symphony Orchestra, Sir Adrian Boult (Conductor)—Decca 433 003-2
• Rodelinda—Alfred Hallett (Grimoaldo), Raimund Herincx (Garibaldo), Joan Sutherland (Rodelinda), Dame Janet Baker (Eduige), Margreta Elkins (Bertarido), Patricia Kern (Unolfo), Chandos Singers, Philomusica Antiqua Orchestra, Charles Farncombe. An English language version, recorded live on June 24, 1959—Opera D'oro OPD 1189 (two CDs) or Memories HR 4577–4578 or Living Stage LS 403 35147 (highlights).
• Rodelinda—Joan Sutherland (Rodelinda), Huguette Tourangeau (Bertarido), Eric Tappy (Grimoaldo), Margreta Elkins (Eduige), Cora Canne-Meijer (Unolfo), Pieter Van Den Berg (Garibaldo), Netherlands Chamber Orchestra, Richard Bonynge. Recorded 30 June 1973—Bella Voce BLV 10 7206.

Wolfgang Amadeus Mozart

• Idomeneo—Sergei Baigildin (Idomeneo), Margreta Elkins (Idamante), Henri Wilden (Arbace), Leona Mitchell (Ilia), Joan Sutherland (Elettra), Australian Opera Chorus, Sydney Elizabethan Orchestra, Richard Bonynge, recorded 1979. Gala GLH 826 (highlights) and Celestial Audio CA 060 (highlights)
• Don Giovanni—Gottlob Frick (Commendatore), Luigi Alva (Don Ottavio), Graziella Sciutti (Zerlina), Joan Sutherland (Donna Anna), Piero Cappuccilli (Masetto), Elisabeth Schwarzkopf (Donna Elvira), Eberhard Wächter (Don Giovanni), Heinrich Schmidt, Giuseppe Taddei (Leporello), London Philharmonia Orchestra, Carlo Maria Giulini. Recorded 1959—EMI 0724356787353
• Don Giovanni—Gabriel Bacquier (Don Giovanni), Pilar Lorengar (Donna Elvira), Marilyn Horne (Zerlina), Joan Sutherland (Donna Anna), English Chamber Orchestra, Richard Bonynge. Decca 448 973-2