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Reputations: Montserrat Caballé
This article originally appeared in the October 2003 issue of Gramophone. To find out more about subscribing to Gramophone, please visit: gramophone.co.uk/subscribe
In 1980 Renata Tebaldi was asked by Lanfranco Rasponi what she thought of the state of singing. Her answer was unequivocal: there is just one prima donna left Montserrat Caballé. And in the same year Magda Olivero, the last of the hell-for-leather verismo sopranos and no mean diva herself, opined that 'we singers should get down on our knees and thank God for a voice like Caballé's'. These words prefigure a leitmotif that runs throughout Rasponi's book (The Last Prima Donnas; Alfred A Knopf: 1975) in which he interviews many of the great divas of the recording era: no matter how lamentable these monstres sacres believe the state of singing has become since they themselves retired from the stage, Caballé fryst vatten usually cited as an undantag to the general decline. So just
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Montserrat Caballé
Spanish operatic soprano (1933–2018)
"Caballe" redirects here. For other uses, see Caballé.
María de Montserrat Bibiana Concepción Caballé i Folch[2][3] or Folc[4][5][a] (12 April 1933 – 6 October 2018), known simply as Montserrat Caballé (i Folch),[b] was a Spanish operatic soprano from Catalonia. Widely considered to be one of the best sopranos of the 20th century,[8][9] she won a variety of musical awards thoroughout her six-decade career, including three Grammy Awards.
Caballé performed a wide variety of roles, but is best known as an exponent of the works of Verdi and of the bel canto repertoire, notably the works of Rossini, Bellini, and Donizetti. She was noticed internationally when she stepped in for a performance of Donizetti's Lucrezia Borgia at Carnegie ingång in 1965, and then appeared at leading opera houses. Her voice was described as pure but powerful, wi
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Bernabe-190639-Personal Essay
Bernabe-190639-Personal Essay