Dame Joan Sutherland (1926–2010) was one of the great operatic divas of her time. As a coloratura soprano, the remarkable beauty and range of her voice led to her being dubbed ‘La Stupenda’ (the stupendous one) by rapt Italian audiences. In partnership with her husband, Richard Bonynge, she revived the bel canto operatic repertoire, bringing back to prominence the works of composers such as Bellini and Donizetti.

The costume designer, Michael Stennett, was favoured by Sutherland and Bonynge for his meticulous research and attention to historical detail, as well as his ability to make Sutherland look her best on stage.

Joan Sutherland first performed in John Copley’s production of Verdi’s La Traviata for The Australian Opera at the Palais Theatre, St Kilda on 10 March 1979.

The costume Stennett designed for the role of Violetta, realised by renowned New York theatre costumier Barbara Matera, was the first to be selected for treatment.

The expert conservation treatment by Marion Parker involved carefully realigning each layer of the shredded lace sleeves...

...and painstakingly stitching them to support layers of fine net.

Insect pins were used to position the lace during treatment.

Lucrezia Borgia (1972)

This costume was designed by Argentinian-born American-based designer José Varona, who also created costumes for performers including Margot Fonteyn and Rudolf Nureyev. Like most of Sutherland’s costumes before the 1980s, it was made by Barbara Matera.

Joan Sutherland wore the costume on 26 October 1972 for her first appearance with the Vancouver Opera. It was also her first performance as Lucrezia Borgia in Donizetti’s opera of the same name, which she and Richard Bonynge did much to revive and popularise.

The orchestra at the performance was conducted by Bonynge, who became Artistic Director of Vancouver Opera from 1974.

“The hours spent deconstructing, repairing, then reattaching the sleeves, and carefully couching the lamé, at times, seemed endless. [Couching is a type of stitch used by textile conservators]. Seeing up close the evidence of Dame Joan’s use of the costume – the various marks and stains from sweat, cosmetics, the dirt of the stage floor, the tears in the sleeves – evoked the image of a performer who used her body as much as her voice in articulating the role.

Throughout the treatment, I was constantly aware of how much trust was being placed in my skills and my good judgment.  As an emerging conservator this was at times intimidating. But by the end of my internship, I had gone from being quietly envious of conservators who are lucky enough to do this work to becoming a conservator myself.”

Gemma Ghoukassian

The Merry Widow (1976)

Joan Sutherland made her debut in the role of Anna Glawari in The Merry Widow for the Vancouver Opera in 1976.

Her Act One costume was, as for Lucrezia Borgia, designed by José Varona and made by Barbara Matera.

“The Barbara van Ernst Internship has offered an invaluable opportunity to focus on a discrete object-based project from start to finish, providing time for research, technique exploration and tacit learning to improve my skills and confidence. 

Not only has this been an incredible learning experience, but it has firmly solidified my desire to pursue a career as a textiles conservator.”

Portia Lawson

Metal thread trim from Lucrezia Borgia costume viewed under magnification

Image by Gemma Ghoukassian

Sequin from La Traviata costume viewed under magnification

Image by Marion Parker

Silk fibres from sleeve of The Merry Widow costume viewed under magnification

Image by Portia Lawson