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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:
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