At 75, I can say that I have met all the greats. And Montserrat Caballé was one of them, a unique artist, very peculiar, with whom it was almost impossible to compare. If anything, we can draw a parallel between her, Maria Callas and Renata Tebaldi, three artists who could use the "la" in front of their surnames. A trio uppercase. Today, normality is the norm. In it, that exceptionality of his throat was the norm. To be understood: the Church has many priests, some cardinals and a Pope. And she occupied the highest. It was that Pope whom I allude to, as was my father, Mario del Monaco, both belonging to a lineage that was capable of singing the impossible. Let us remember, for example, that she put voice to a "Salomé" with Leonard Bernstein in a very German style. To refer to it is to touch the highest of the maximum. Woman with a universal voice, beautiful and who knew how to sing and who sang everything there is only one: Caballé. In front of the Callas, the differences were noticeable. This wielded a huge vocal aggression, but did not display a vocal beauty like that of the Spanish. He had a figure and a presence that Caballé lacked, while in terms of vocality it was impossible to win Montserrat, so unique and unique. Nor could they compete with her for sympathy with other first division sopranos, many of them unattractive by nature and less than sympathetic. There I won more than enough, because I can never forget the afternoons we went from laughing to laughing, from talk to talk. The amount of jokes he could tell me. He laughed like an organ and that made her still more sympathetic. His stage presence was so strong that he remembered, for example, Pavarotti's. And Tebaldi? Oh, Tebaldi. Their vocalities were completely different. Only the repertoire joined them. Caballé was quite more perfect. Although they formed a unique triangle of a universal light. Keep in mind that the history of the lyric can not be written without your name, you can not talk about opera without citing it because it is a consubstantial part. Our relationship came from far away. I heard it for the first time in Naples, with my father. He took me to a concert and whispered in my ear: "How does she sing!" His nose did not fail him. Later I met her more. He fascinated me as much by singing Ponchielli as "Don Carlo," because his throat was for everything, something that came from his German days. It also adorned her and made her bigger never to have renounced her origins, which she had in mind. Dearest Montserrat, you will already be on Olympus, I just want to say goodbye to you, and send all my support to my dear family, paraphrasing Verdi when Richard Wagner died: «Sad, sad, sad, Caballé has died».