The exposure of Harvey Weinstein as a sexual predator and the emergence of the #MeToo movement in 2017 highlighted the extent of sexual harassment and maltreatment of women in the entertainment industry. A part of the industry that has received attention is the opera business, one with a centuries-long history of structural misogyny. This paper will examine how sexual harassment and objectification functioned in the career of the Australian soprano Marie Collier in the 1950s and 1960s. Collier’s gender and sexuality was subject to a discourse rooted in structural elements of the business such as the gendered nature of opera and female roles and conceptions of the diva. This discourse was manifested in the ways the media and reviewers made sexist representations of her, in the attitudes and gossip that circulated among colleagues, and in specific incidents of sexual harassment. Collier tried to turn this to her advantage by creating an image of herself that used the historical tropes of the glamorous diva but subverted them by incorporating her family life. The paper examines how this discourse is still present in the opera industry and how conditions might change.