Florence Austral (26 April 1892 – 15 May 1968) was an Australian operatic dramatic soprano renowned for her interpretation of the most demanding Wagnerian female roles, although she never gained the opportunity to appear at the Bayreuth Festival or New York's Metropolitan Opera.

It has been said of Austral that she was "considered to have few equals in sheer vocal quality until the arrival of Kirsten Flagstad. Acting was not her strong point; and her characterisations were mainly achieved with the voice, which made her recordings so vastly enjoyable." Austral, Germaine Lubin, and Frida Leider were "considered to be the great Wagnerian dramatic sopranos of their era, together with Flagstad, who did not rise to international fame until the 1930s. (Among all post-War Wagnerian sopranos, only Birgit Nilsson and, to a lesser extent, Astrid Varnay, have been in their exalted league.)"

Florence Mary Wilson was born in Richmond, Victoria on 26 April 1892. She was the daughter of a Swedish carpenter who had changed his name from Wilhelm Lindholm to William Wilson, and the dressmaker Helena Mary, née Harris. Her father died in 1895 and her mother set up in business. In 1903, Florence's mother married again, to a 28-year-old Syrian book-keeper named John Fawaz, and Florence took the name Florence Fawaz.

Like other noted Australian sopranos, such as Elsie Mary Fischer (1881-1945) ("Elsa Stralia"), June Mary Gough (1929-2005) ("June Bronhill", after Broken Hill), Vera Honor Hempseed (1890-1952) ("Madame Vera Tasma", after Tasmania), Helen Porter Mitchell (1861-1931) ("Nellie Melba", after Melbourne), Dorothy Mabel Thomas (1896-1978) ("Dorothy Canberra"), and Florence Ellen Towl (1870-1952) ("Madame Ballara", after Ballarat), Florence Mary Wilson adopted the professional surname Austral in 1921 in honour of Australia.

Austral was discovered by the choirmaster Rev. Edward Sugden at the Wesleyan Methodist Church in Palmerston Street, Carlton, Melbourne (now Church of All Nations). In 1914, she won first prizes in both the soprano and mezzo-soprano categories at a singing contest in Ballarat, obtaining a scholarship which enabled her to continue her studies with Elise Wiedermann. She went to New York in 1919 to study further with Gabriele Sibella. Her voice impressed influential listeners and she was offered a contract to sing at the Metropolitan Opera; however, she declined the Met offer to gain stage experience in England, and never again had a chance to sing with the New York company.

Austral duly went to London where she was promoted by the leading British bass of the day, Robert Radford. She made her Covent Garden debut on 16 May 1922 as Brünnhilde in Wagner's Die Walküre, and later in the same role in Siegfried. She shared this role with Frida Leider, who received greater acclaim due to her superior acting skills. Austral's other roles at Covent Garden included Isolde and the title role in Verdi's Aida.

In 1923, Austral appeared with Dame Nellie Melba, who called her "one of the wonder voices of the world", praising the purity of her tone and the gleaming power of her high notes. Unfortunately for her career, due to prevailing circumstances and the reputed antipathy of conductor Bruno Walter, she ended up singing more with the British National Opera Company than at Covent Garden in the 1920s.

During the mid-1920s, she made the first of more than 100 recordings for His Master's Voice, which are still treasured by collectors. The famous recording engineer and producer at His Master's Voice, Fred Gaisberg, said: "In the early twenties Florence Austral was the most important recording artist we had, thanks to the beauty, power and compass of her voice".