Just in: Diva divorces her manager

Just in: Diva divorces her manager


norman lebrecht

July 24, 2022

Tweet from Sondra Radvanovsky:

The US-Canadian soprano married Duncan Lear in December 2001. He then became her manager.



  • Gunther Kraus says:

    Sondra Radvanovsky is one of the most interesting singers in the spinto soprano repertoire today. Her fans know that her life has had its fair share of tragedy.

    I am sorry to hear about the loss of her mother and hope she takes the time she needs after her divorce.

  • V.Lind says:

    What a pity. She is one of the nicest divas I ever met.

  • A.L. says:

    Must be so desperate for attention to make what amounts to a private situation/confession public.

    • guest says:

      This is not that kind of diva. Ms. Radvanovski canceled performances after the death of her mother, was she supposed to hide it and say that she had a sore throat or something? and the public announcement of divorce is rather normal, especially since her husband was also her manager. If it had not been officially announced it would have caused complications, it’s obvious.

    • Herbie G says:

      Spot on A.L – if one does decide to share this kind of thing with the whole wide world, it should best be done on Facebook or Twitter. It has nothing to do with music, notwithstanding her obvious talent. If it’s posted on SD, then surely, in fairness, NL should allow her husband to comment too, in which case we would see all the salacious details in a never-ending thread – for all those who give a fig…

      Whatever next? Gergiev ate Netrebko’s hamster?

  • Stephan von Cron says:

    If her husband was responsible for much of her repertoire choices, she’s done well to divorce him : after offering a vocally perfect and musically nuanced accounting of Trovatore Leonora in Paris some 20 years ago, she went on to mark less than successful performances in Bel Canto roles ill suited to her capacities and seemed to be just pushed through a major career which will pain to leave a durable trace. Great pity seen the marvelous material she had.

    • Ragnar Danneskjoeld says:

      So how come she’s still around if her husband made all the wrong career choices?

      • Stephan von Cron says:

        Good question : today the public is sold a product, and the criteria are, for opera at least, rarely based on knowledge of vocal art, the reason why the international level of singing has plunged over the last 30 years.

    • Tiredofitall says:

      Actually, the quality of her basic vocal production has increased exponentially over the past two decades. Her manager had nothing to do with that and probably little with her choice of reportoire.

      That said, I only care about her presence on stage, not how the sausage is made.

    • Tristan says:

      I think you haven’t heard her lately as she was just sensational as Turandot in Rome with Pappano, she simply brought the house down and some even said (people with knowledge and a sense for style, right voices etc) they haven’t heard anything like her since Nilsson! Her Tosca is the best around atm and per personality is wonderful!
      Sondra is peerless in her repertoire and what a stage presence she got! She will do well and let’s hope the divorce isn’t acrimonious!
      I can‘t wait to hear her Medea plus some more promising performances due in Europe

      • Stephan von Cron says:

        Loud is not necessarily great singing. Extremely difficult roles like Norma and Elisabetta in Devereux can only be chosen if you do vocally do them justice, regardless of stage presence. Friends of mine know Sondra personally : she’s lovely. These latter points don’t take away from the fact that role choices can hurt your legacy if you are not up to them. Cigna was one of the Met’s greatest Aidas but overtaxed as Norma. Rysanek abbandoned Abigaille after an intelligent review, as Price never tried Minnie again after vocal strain made her cancel, Pavarotti and Fleta refusing Calaf after single series in the role. These singers knew their vocal capabilities and limits.
        That is also part of defending the vocal art.