Difficult to count in this era of absolute specialization on the career of an old-style diva, that is, less tiquis miquis when choosing papers. Even so, the splendor of Montserrat Caballé lived several phases, together with some talisman composers and genres.
Idyll with Bellini. Much of the world began to adore Caballé thanks to Bellini. He already had a lot behind him since his international debut in Basel in 1956 and began to sneak onto the podium between Maria Callas and Renata Tebaldi. But it was in the early seventies when he played the fiber of the fans well with the Rule of Bellini to debut with the role in La Scala in Milan. In the lists of the best castes diva of the story is number one. The bel canto composer also served for the singer to approach another of the characters that made her make a difference, the Il pirata
Maturity with Verdi. Two are the great roles that define the maturity of Caballé at the time of venturing into Verdi: Aida and the Desdemona de Othello. Even so, he was one of the composers that Caballé approached with enthusiasm and who gave him great nights in both operas with Plácido Domingo. It is not there your tour verdiano. The Leonora of Il trovatore, Traviata Y Luisa Miller they can be included among their star roles.
Master's degree in Puccini. It can not be said that the torn universe of Puccini was a distant goal for Caballé. He went through it from the beginning of his career with Mimi's La Bohème But it was not the role that gave him the most applause. The great dramatic figures of the Tuscan had reserved a gap for glory. Specifically Tosca Y Turandot, the two characters that made him mark concrete milestones. The first of them provoking delusions when faced with Pavarotti, with whom he also enjoyed several Bohèmes
Went with Arabella, of Strauss, with whom Montserrat Caballé debuted in 1962 at the Liceu. From then on, Strauss became a musician of fortune for her. "
The talisman of Strauss. Went with Arabella, of Strauss, with whom Montserrat Caballé debuted in 1962 at the Liceu. From then on he became a musician of fortune for her. Another event was his marshal de The knight of the rose in Glyndebourne. During his beginnings in Basel he entered the German repertoire and that allowed him to be appreciated by critics as someone more versatile for a time when the divas continued to define the Italian repertoire mainly.