‘¿Pujol? Even the saints were wrong ‘- World

“The journalist has come.” It feels important when accessing home Barcelona Montserrat Caballé (Barcelona, ​​1933). By vanity (own) and the historical dimension of the singer claimed the tribute he organized the Teatro Real Tuesday about his Madrid link. Concerning half century and 23 operas. And the fundamental needs of the diva, from Mozart to Wagner, Verdi to Strauss, emphasizing the contribution to ‘belcantismo’ (Donizetti, Bellini).

elude sing Caballé, but speak, does speak, making an effort to demystify. N or considered “more qualified than an achiever clerk” , nor is recreated in the milestones of his past. Condescends to bootlegs. Likes, true, but not for placement on compact disc tray, but to collect them.

Do not listen to their albums, his voice?

No, I do not hear my records. I do not like to remember the past. I like today and what will come. I’m not interested dwell on the past times. I do not need the past.

And past has had. For its 81 years, the longevity of his career he began in 1950 and has not finished- by ​​the holder who granted the ‘New York Times’ on the inertia of its debut at Carnegie Hall (1965), substituting’ in extremis ‘Marilyn Horne: “Callas + Tebaldi: Caballé”.

I had a good race, as many people. It’s exciting to have done my job well. Having served the music, especially not having betrayed the composer. The divo is the composer. Most often forgotten. Does mitomanía? When you have a good time you create a special effect. and you surprise yourself with that effect. I sulfurized the myth. Fans who approach you with fear, as if we were golden statues. The public does not bring out the best of an artist. You will have fun. There are viewers who enjoy, scream, enjoy, but I guarantee that everyone is asleep. Basically, do not come to appreciate the composer, but the figures and names are on stage. Viewers forget the composer.

What you do not sleep?

I have subdued feel relaxed at the end of a function, get along with Verdi and Donizetti, ask them to be condescending. Comprehensive. But not every night I relaxed. I’ve gone to bed worried because I have not liked. It is an analysis to your work. I happened to bed without having a clear conscience. I’ve been sleepless thinking that I have not been up to what they had written composers. Amar for them. Die with them.

Isolde, Mimi, Lucia di Lammermoor.

When you do a love scene must be love. And when you do a death scene you have to feel die. And this happens when the soul leaves you. And when the curtain comes a slap. You wake up suddenly. Never get train. Every night is different.

Do you recognize the merit of being scrupulous singer, philological even? Moreover in the bel canto heroines you rediscovered.

You can not judge a creator if you are not able to create. Need clarity greatest mind to distinguish right from wrong. And wrong is betraying the composer inventing, manipulating. Do not distort the creation of others for applause. The best applause is recognizing your role as transmitter of the will of the composer. I have tried to go to the original source. I have avoided the hype when the hype was booming. And that is achieved with total commitment. I was always worried authenticity.

Montserrat Caballé receives the journalist in an overstuffed chair that could be part of the set of Manon Lescaut. Black dresses, but with the joy of a white collar yoke. Speak concisely, without poison. And not really used the political bustle of Barcelona. He returned in 2011 after a stateless path. What impression produces this independence fuss about?

Back to Spain has been a great bewilderment. Not understand why in such a beautiful country with so much future proliferated so much misunderstanding. Such discrepancy. Many problems of coexistence. That have been resolved in Germany reunification. And they have not existed in Switzerland ever, despite the different languages ​​and idiosyncrasies. I have trouble understanding the division of Spain and Catalonia. I do not understand why people are alienates. I can not judge what you do not understand.

Have you come to claim her as a political godmother?

No, nobody asked me to mean politically. I think they know who they can not go.

What has surprised you the scandal Pujol?

I was surprised by this scandal, but keep in mind that even saints were wrong . He was a man who has done much good to Catalonia for many years. They say. I emigrated in 1955.

This defense is not politically correct.

Really? No advocate. I say what I’ve always heard. From abroad.

You have been a soprano wandering. An immigrant in Germany and Switzerland.

I left Spain in 1955. I lived seven years between Switzerland and Germany, where there was no food. Now there is talk of crisis, but it can not compare to the plight of the war. Travel to Switzerland was weird. People were not sad, but friendly. They helped a lot. We eat, live. And we went to Bremen. Straight people, repentant Nazi past. Living with shame. And it was a strange, sorrowful world. And the theater, ideal for learning, was a place like a factory, too meticulous, environment barracks.

And then, United States.

I spent 27 years America. A brutal change. And I did not like. There was more freedom, but less awareness of others. They were very special years. Much success, hard work, a lot of records. I did beloved daughter of Philadelphia and Texas, gave me the key to San Francisco. Note!

is that you have been a global phenomenon. Do you think now would stop singing? I mean discrimination that obese singers are harassed.

I understand that in our time thin singers and figurines are sought. In my time there was such a need, it was sung that way. Now it has instilled in society the problem of obesity. And he warns against its harmful effects. I get it. It was the context in which we develop our careers Pavarotti, Sutherland, Horne and myself. Now opera is a beautiful thing of all, thin, singing well. But opera has been for a century, a place of admiration for the music, not the singer. And the serious singer has made a career, but never thought that Pavarotti had to be a fashion plate. In our time there was an obsession with food. Ate for strength, rendíamos, did the job well. Eating and perform.

Does not it seem a bit prosaic and demystifying?

I have not done anything. I just sung.

What is frustrating to have to let it?

This was for my husband. Had to stop singing in 1977. Not because I wanted to, but because I had to. My case is different, my career long. You know yourself. You know you can not do certain things. Or that you do badly. Your own sanity dictates that you can not continue singing. You agree that you must withdraw from the scene because nobody likes to ridicule. You have it very clear.

.- To her husband she met precisely in Madrid, singing ‘La vida breve’. And then we were not married, but engaged with ‘Butterfly’.

I liked his way of being, simply, human. A good man. We have completed 50 years of marriage. And we have almost always been together.

Although you have been very ‘promiscuous’ with the tenors. What singer has impressed you the most?

I was very impressed Placido Domingo. Always. Since the first work. We had an exceptional musical relationship, recordings and theaters. When you’re Domingo singing ‘La bohème’, you fall Sunday. And maybe it from me. It has been a wonderful singer.

Pavarotti?

Pavarotti had a paternal air. How you were worried, tried to motivate you and help you.

Kraus?

We made a ‘Manon’ very special in Madrid. He sang very well. Easily in the ‘fiat’ and phrasing. I think it lacked emotion as an artist. And I think I said many years when he played a leg on the floor for reasons the script seemed like wood does. It was a great cantane.

Racing?

Racing had an easy, natural voice. But it is true that when he played his aria, was put forward and you forgot. After returning … We made many times ‘Adriana Lecouvreur’. And I was thrilled with my death. Cried to see me die. Very fond memories.

Aragall?

The Lord’s Prayer was never feeling well, more like a superstition. He sang like a god.

The reporter is aware of committing a kind of outrage, spoiling the sympathy and warmth of Caballé with a question about the fine to be imposed Finance . But comes the question point-blank. And the answer:

– I signed a contract for an album that was never published but that he recorded. The company failed . And Hacienda was satisfied that he had received 300,000 euros. They were for repartírnoslos together, the director, orchestra and an ambassador in Madrid who had covered the initiative. The reality is that did not charge anything, but I solved the requirement of Finance . That’s all.

Solved the embarrassing passage, Motserrat Caballé hindsight is granted. Recognizes that he would have liked to have sung the ‘Medea’ of Cherubini in Greece. And he regrets not having starred ‘Frau ohne Schatten’ Strauss, although the shadow of Caballé was an eclipse of the sun.