Montserrat Caballe

Speaker 10:00

Hello, I'm Kirsty Young, and this is a download from the Desert Island Disc's archive. This edition may be slightly different from what was actually broadcast, but it is the only version we have. It comes from the British Library's radio collection.

Speaker 10:15

The recording didn't contain the guests' eight music choices, so we've rebuilt the original show by using discs from the B B C Gramophone library. For Wright's reasons we've had to shorten the music.

Speaker 10:26

Full details can be found on the Castaways page on the Desert Island Disc's website.

Speaker 10:31

The programme was originally broadcast in nineteen eighty one.

Speaker 10:34

And the presenter was Roy Plumley.

Presenter0:52

On our desert island this week is the soprano Montserrat Caballer.

Presenter0:57

Now you have just eight records to take with you. How did you set about choosing? Are are you choosing nostalgically? Or are they the voices of friends? Or was there any kind of rule that you set yourself?

Montserrat Caballe1:10

I choosing

Montserrat Caballe1:11

some for personal memories, some because of the composers, and most of them because his music.

Presenter1:15

Yeah.

Presenter1:26

Well what's the first one?

Montserrat Caballe1:28

To go into the island the first one has to be the second act entrance of Brunhilde of Duval Curie and of course by Birgit Nelson.

Presenter1:38

Why do you choose this?

Montserrat Caballe1:40

Because big it when I heard.

Montserrat Caballe1:44

His voice, the way she sings this entrance, is something immense.

Speaker 42:41

Part of Rustin Saints, part of straw.

Presenter2:47

Birget Nielsen, her entrance from Act Two of De Valkyrie.

Presenter2:52

Now, Madame Coballet, you're a Catalan, yes?

Montserrat Caballe2:55

Yes. I was born in Catalonia.

Presenter2:58

Boom.

Montserrat Caballe2:58

and my country is Spain.

Presenter3:00

Was there a lot of music in your home?

Montserrat Caballe3:02

Yes, indeed. Because my parents love music. They have uh lots of recordings. We were a very simple family, human family, and very hard times.

Presenter3:16

Yeah, yeah.

Montserrat Caballe3:16

After the world and after the world, so they try very constantly to to buy and and the recordings, they love it.

Montserrat Caballe3:25

And I was used from my very first moment, I think, in life to listen to music, no matter which kind. I loved it, of course, classical music, operas, sarcellas, concerts. I thought I many times I was sleeping listening to some kind of music when I was a very, very child.

Presenter3:45

When you were a child the the civil war was waging. That gave you a very hard time.

Montserrat Caballe3:48

Gave you a base.

Montserrat Caballe3:50

Uh really I I was born on april thirty three, twelfth of april thirty three, and the war began in Spain in thirty six. So I was three years old. My memories of the war are not very clear in my mind.

Montserrat Caballe4:08

But things I remember, for example, is my father in the hospital, which I went with my mother to visit him because he was uh

Montserrat Caballe4:16

In injury you say?

Presenter4:16

In the bombing?

Montserrat Caballe4:18

No, in the front.

Montserrat Caballe4:20

Are you

Montserrat Caballe4:22

Yes, of course he was a soldier.

Presenter4:23

Yeah.

Montserrat Caballe4:24

And um he was uh hurt I mean, uh badly hurt. And we went to the hospital, and that I remember. I remember two uh bombing in Barcelona, and my father carrying me.

Speaker 44:31

The end.

Montserrat Caballe4:41

in his arm, going steps down, very quick, very quick, and I remember sort of soup teranio. Yes. Hundreds of people went there. Salad. I assume so, yes. And uh that I remember too.

Presenter4:50

Hundreds of

Presenter4:52

Sellers

Presenter4:58

Was your home hit? Was your home hurt? Destroyed, yes. Destroyed. Yes, yes. So the record collection of your father was was damaged, was it?

Montserrat Caballe4:59

Was your helmet? Yes, yes.

Montserrat Caballe5:07

Yes, it was damaged, very much indeed. And he begun after the word to save whatever he could save and to recollect it again whatever we could he could, I mean, and my mother too. And

Presenter5:19

Yes.

Montserrat Caballe5:25

The war finished, I was six years old. And I remember when my brother was born, I was nine years old, my only brother, and uh

Montserrat Caballe5:36

At the time it was a large collection, three years after the war, because I remember listening many times

Montserrat Caballe5:42

to Migel Flette, which my father was a great admirer.

Speaker 15:44

To my father.

Montserrat Caballe5:46

And um Bjerling, my father loved Björling, it was really, I assume, the beginning of Björling at the time and uh Latharo and Caruso, of course, all my father loved tenor voices, you see.

Presenter6:03

Did he sing himself?

Montserrat Caballe6:05

No, not now.

Presenter6:06

When did he first take you to the opera house?

Montserrat Caballe6:09

not even eight. It was the first season they reopened at the opera house in Barcelona after the war, and it was with Madame Butterfly, Mercedes Capsire, an old singer of ours, sang Butterfly, and to me it was a great impression because I ever see an opera before, I only listen to the music.

Presenter6:30

I asked you.

Presenter6:31

You were, what, six, then?

Montserrat Caballe6:33

No, I was, I think, seven and a half, something like that.

Presenter6:36

When did you start music lessons yourself?

Montserrat Caballe6:40

Well, I begin at the Conservatory in Barcelona with eight only music, sorfego.

Presenter6:46

Yeah.

Montserrat Caballe6:47

And uh with twelve then I begin I put on piano too, clap clavier. And then they begin to say have a voice, the teachers, in the school, in the conservatorium in Barcelona. So with fourteen then I begin to study voice with a Hungarian teacher, Eugenia Kemeny,

Presenter7:11

A Hungarian teacher.

Montserrat Caballe7:13

Hungarian teacher.

Montserrat Caballe7:14

She was in Bailud many years, and in, she was a singer in the Berlin Opera.

Montserrat Caballe7:21

The lady she was an old lady at the time she died few years ago.

Montserrat Caballe7:26

She listened to my voice and she says this wonderful voice has a future, but first we have to make a gymnastic.

Montserrat Caballe7:34

And for eight months for eight months really

Montserrat Caballe7:39

I was doing only what she calls hypnosia respiratoria.

Presenter7:45

Breathing gymnastics.

Montserrat Caballe7:46

Yes, she was when she was young in his country gold medal of Olympics running, he says? She was I think eighteen or nineteen years old at the time. So for her that was the most important thing, to have this kind of of control of breath which is the fundament for singing later.

Speaker 47:54

Running.

Speaker 18:05

Uh

Speaker 18:07

Control of the port.

Montserrat Caballe8:12

I was desperate. Immense gymnastic. I wanted to sing, but I sang very much. My teacher does he teach me this way too, please.

Presenter8:21

You were also studying nursing at that time, were you not?

Montserrat Caballe8:23

Yes, a little later. I was finishing with fourteen and w in sixteen I was vig uh how do you know that?

Presenter8:31

I have my sources.

Montserrat Caballe8:35

Haha.

Presenter8:35

Yes, yes. This was a second string, as we say. This was a very strong.

Montserrat Caballe8:39

Yes, my father wanted absolutely that I have something real in life, not only dreams.

Presenter8:45

He must be very proud when he plays your record.

Montserrat Caballe8:48

I know, papa never penalised my records.

Presenter8:50

Does he not?

Montserrat Caballe8:51

No, because papa says

Montserrat Caballe8:55

Sorry. Well, Papa says that, um

Montserrat Caballe8:58

Excuse me, yeah? That's what Papa says.

Montserrat Caballe9:03

He says that really my voice for him.

Presenter9:08

Uh

Speaker 49:08

Mm-hmm.

Montserrat Caballe9:09

Please don't forget it's my father. My voice is a special sound.

Montserrat Caballe9:15

and this special sound has been never put in a record.

Presenter9:18

He doesn't think the records do you justice.

Montserrat Caballe9:21

Not my sound.

Presenter9:22

Note.

Montserrat Caballe9:22

That's what he says.

Presenter9:23

Right.

Presenter9:25

Now I know you won a gold medal, which is Spain's highest award to a a student singer. What was your very first engagement on the operatic stage? What was the first role you sang?

Montserrat Caballe9:36

As a student I was singing La Serva Padrona from Pergolesi, Il Telefono from Menotti.

Presenter9:39

Vegulation.

Montserrat Caballe9:42

I sang Mar Maria Getiaka von Rospigi.

Montserrat Caballe9:46

and the Ninth Symphony, all in Spain when I was finishing my almost finishing. And then my first engagement really was in Basel in Switzerland. And I sang small parts, very small parts, like Amnina in Traviata, like First Lady in Sauberflute. And then I sang a part which I find wonderful in in the Feuge Engelfon Prokofiev. And I was so happy because I I really wondering this line. I was l it was lovely. So the first ensemble rehearsal when I came, that was a success. And I was so depressed because I always thought when I was a student they only gave it my my music.

Montserrat Caballe10:30

So I thought that was a solo, but it was not. It was a sixth tip. Well, anyway, that was my first roll. You're right. Yes, but it was a

Presenter10:37

That's the most

Presenter10:39

You're right. Let's let's just break off for another record. What's the second one you've chosen?

Montserrat Caballe10:44

La Jouie Rachelle Candy Senior because of Richard Tucker.

Presenter10:48

La Jouve by Alevi.

Montserrat Caballe10:50

Yes

Presenter10:51

And why do you like Richard Tucker so much? Did you work with him ever?

Montserrat Caballe10:55

Mm yes. At the beginning in my career in America, in the United States I sang with him several times.

Montserrat Caballe11:01

It was something like a human being trying to do his job the best he could.

Montserrat Caballe11:08

trying to help other people.

Montserrat Caballe11:10

to growing up in a career.

Montserrat Caballe11:13

He was a peasant that loved music over everything.

Montserrat Caballe11:18

And the respect

Montserrat Caballe11:20

He has, for all the rest of his colleagues, this something as an example, and because as exemple is the only tenor I take with me in the island.

Speaker 411:35

Uh

Speaker 411:38

Uh sure

Speaker 411:39

Com die, seigneur, la gros titan term.

Speaker 111:50

Ah

Speaker 411:51

Mm.

Speaker 411:52

Course autom Jove at home, vouville entire.

Speaker 412:13

Per cro quit liver.

Presenter12:25

Richard Tucker, singing an aria from Alevis La Jouive. Now, you started off in in Bal. You were a sort of unpaid understudy for a start, weren't you?

Montserrat Caballe12:35

Yeah, that's true.

Presenter12:36

Mm-hmm.

Montserrat Caballe12:36

Yeah.

Presenter12:36

Uh

Montserrat Caballe12:36

But what I learned at that time was incredible. I will have not money enough to pay it to day what I have learnt at that time.

Presenter12:43

You learned the repertoire.

Montserrat Caballe12:45

Not only that, I learned many things in that time, really.

Presenter12:49

How long were you in Bar?

Montserrat Caballe12:50

Three years.

Presenter12:51

So having learned so much o of the German repertoire, you were then suited to go on to Bremen. That was your next place.

Montserrat Caballe12:58

Yes, I was in Bremen Treeers too.

Presenter13:01

Now that was hard work. I read that in one week there you sang in five different operas. It's true.

Presenter13:07

They kept you busy.

Montserrat Caballe13:09

Well, no, it is because the other soprano was ill. You know, at that time the soprano was ill too. So they they have to put me in.

Presenter13:16

Uh Uh

Speaker 113:16

They

Montserrat Caballe13:19

And so I I sang what I was supposed to do, two or three of my parts and two or three of the other soprano parts. So that keeps me in voice for that week.

Presenter13:31

When did you first sing in your own home town in Barcelona?

Montserrat Caballe13:35

Seventh of January

Montserrat Caballe13:37

Uh nineteen sixty two.

Presenter13:39

A date you remember. It must have been a great thrill to go back and see.

Montserrat Caballe13:41

Yes, yes, it took me six years to co you know, this the conservatorium in Barcelona is on the top of the opera house. So it took me the travel over all Europe.

Presenter13:51

Yeah.

Montserrat Caballe13:55

And six years to go from the conservatorium to the stage of my arms. But uh it was a special night. It was with Arabella from Richard Strauss. And

Speaker 413:58

To the stage of my album.

Montserrat Caballe14:10

To me it was one of my loveliest memories, really, it is.

Presenter14:15

Well, you went on making an impact here and there. Now, you made a big impact in in Mexico. That was important.

Presenter14:28

That was in Mano.

Montserrat Caballe14:29

Yes, that was uh with Giuseppe di Stefana.

Presenter14:33

Was it that success in Mexico that led to your first New York appearance?

Montserrat Caballe14:37

Oh, no, no, not at all. I mean, the success in Mexico with Manon and Balloon Masquerade, which I sang for the first time in my career, and it was with Giuseppe Di Stefano too.

Montserrat Caballe14:48

brought me two contracts. Could you imagine? One, two Dallas to do Cephile's Traviata and second

Montserrat Caballe14:57

To

Montserrat Caballe14:59

Philadelphia to do Andrea Shenio with Franco Corelli.

Montserrat Caballe15:04

So that was m this contest was made in the fall of sixty four because uh this performance uh are supposed to take place following season.

Montserrat Caballe15:19

Only in april'sixty five.

Montserrat Caballe15:22

at went the the the the event of Carnegie Hall of Lucrezia Borgia because Madame Marilyn Horne was suspecting Patricia a pre she was pregnant.

Montserrat Caballe15:33

And

Montserrat Caballe15:35

She thought, Marily Lynn, that she could uh do it because, you know, I was pregnant twice too. So I had the chance.

Montserrat Caballe15:44

And you you think, till when I can go on? I assume for Marine it was the same question for herself. And you go on, you go on, till you realize, well,

Speaker 115:49

But I have

Montserrat Caballe15:53

No, I cannot go around. I have planned that, but I have to stop perhaps one month earlier or so. I assume it was the same for Marilyn. And then they they offered me this uh opportunity to to do this role in New York. And there was a problem because you see, Dallas have signed me a contract to say his first parents in the United States for Lotroata.

Speaker 116:10

New York

Montserrat Caballe16:19

Of course, uh on a stage was in the contract. And because of this on a stage I could do the concert at Canagy Hall.

Presenter16:30

The concert performance. That's not on the stage, of course. No, this is a concert.

Montserrat Caballe16:33

No, this is a platform.

Presenter16:38

And you had a great success. They they loved particularly that marvellous pianissimo of yours.

Montserrat Caballe16:42

That's what this says, yes.

Presenter16:45

Now you sang Lucrezia in New York.

Montserrat Caballe16:47

In New York.

Presenter16:48

This happened a long time ago, so we can now tell the story. Your next engagement was at Gleinborn, but because you had had to learn Lucrezia.

Speaker 416:53

Yeah.

Montserrat Caballe16:53

Yes.

Presenter16:56

You didn't know your Kleinborn part, did you, when you arrived?

Montserrat Caballe16:56

Nope.

Montserrat Caballe16:59

Well, I knew it only not right. That's true. I have never denied it. And I'm not going to begin yet to say the excuses.

Presenter17:08

What were you going to see and what was the part?

Montserrat Caballe17:10

Rosen Caballer.

Presenter17:10

Closing couple here.

Montserrat Caballe17:11

Uh

Presenter17:13

Yes.

Montserrat Caballe17:15

and I have learned the part in February.

Montserrat Caballe17:22

End of February, beginning of March.

Montserrat Caballe17:25

uh just beginning to study the part because it was plenty of time. It was two months before I was supposed to be in Gleimbo, so I take it easy, like always. So when I arrived in Gleimborn

Speaker 117:37

Yeah.

Montserrat Caballe17:39

Of course.

Montserrat Caballe17:40

I have not had the time to continue Rosenquery because I was doing a look at Siborgia.

Montserrat Caballe17:46

First thing I thought is to speak with the conductor.

Presenter17:52

Who was it?

Montserrat Caballe17:53

The conductor was our lovely I really don't want to say the name, please.

Presenter17:59

Uh

Montserrat Caballe17:59

Yeah.

Presenter17:59

Right, we won't mention Mr. Pritchard.

Montserrat Caballe18:01

No, yes, yes. No, because he was so sweet and I don't want it you know, he said, Now that you say it, I say what he tells me.

Presenter18:01

Uh

Presenter18:06

Uh

Speaker 418:06

Now that you say it, I

Montserrat Caballe18:10

You know?

Speaker 418:10

Go on.

Montserrat Caballe18:12

Um

Montserrat Caballe18:14

And I tell you why I don't want it.

Montserrat Caballe18:17

to say it because

Montserrat Caballe18:19

When I arrive.

Montserrat Caballe18:22

I speak with him.

Montserrat Caballe18:24

I told him, and I know the part.

Montserrat Caballe18:28

I know a little, but not much. He says, Okay, come and we have a rehearsal.

Montserrat Caballe18:34

Let me see how do you know the part. So that was uh the twenty first, twenty second, twenty third, something like that. So very short of time, as you can see. And we rehearse and after the monologue uh he stops and he says, Well,

Montserrat Caballe19:02

Uh do you think you can go on after the fifth performance?

Montserrat Caballe19:08

And I says no, no, no. Either I do all or either do none.

Montserrat Caballe19:15

And he was looking at me like he looks of something very strange, I'm sure.

Speaker 419:20

Haha.

Montserrat Caballe19:21

Yeah.

Montserrat Caballe19:22

And he says, Do you know? Very nice, really very nice. You will see. Do you know?

Montserrat Caballe19:30

How much time every

Montserrat Caballe19:33

Soprano has a protest role.

Montserrat Caballe19:36

Need to prepare this role like has to be.

Montserrat Caballe19:40

I says yes, I know that.

Montserrat Caballe19:43

And do you think you can?

Montserrat Caballe19:45

Do it in fifteen days? I says yes, I know I can.

Montserrat Caballe19:51

And he was shocked, I says well.

Montserrat Caballe19:56

I I am not not only sure, I am sure you not I says, Yes, yo yo y I understand you you think this way.

Montserrat Caballe20:06

It is well.

Montserrat Caballe20:08

Uh

Montserrat Caballe20:10

We have to look for another sofrano that you understand.

Montserrat Caballe20:13

I say, you look, but you don't engage a soprano, and give me five days.

Montserrat Caballe20:18

He says five days he says five days a piano and a pianist.

Montserrat Caballe20:23

He says, I can do it. I say, no, no, no, no. I do it in my way, the way I'm learning.

Montserrat Caballe20:29

And then

Montserrat Caballe20:31

You decide of young

Montserrat Caballe20:32

Make the engagement for the other soprano?

Montserrat Caballe20:35

Or you tag me.

Montserrat Caballe20:37

He was laughing, but he was very sweet, and he says, All right, Montserrat, uh I only do this because you are very young.

Montserrat Caballe20:49

and because somehow in your eyes

Montserrat Caballe20:54

It's really what he tells me, you know.

Montserrat Caballe20:57

It says me that's going to happen. I don't know how, but your eyes say so.

Montserrat Caballe21:03

So, sometimes in life

Montserrat Caballe21:06

They succeed wonders. Could be this time happens. I don't know. I love your voice. I love the way you you do. Let's see how practical you are.

Montserrat Caballe21:16

So I closed myself in the house where we have rented and I was working

Montserrat Caballe21:25

morning, afternoon, night, and I was sleeping with Elizabeth Tchewaskov recordings of Rosen Cavalier.

Montserrat Caballe21:34

everything I put in my watch at six o'clock in the morning and so after five days I went.

Montserrat Caballe21:44

to do this rehearsal.

Montserrat Caballe21:46

and I arrived without this car.

Montserrat Caballe21:50

And he was looking at me and he says, Do you have the scar? I says, Yes, I I forgot home.

Montserrat Caballe21:57

And he says, Do you want one? I says, No, better I take it with me tomorrow So I go through all paths.

Montserrat Caballe22:06

full uh uh parqueur uh yeah mem memory yes uh I only make five uh uh mistakes mistakes.

Presenter22:09

I heard

Presenter22:18

Mistake.

Montserrat Caballe22:20

When we finish it.

Montserrat Caballe22:23

He says Maiser says uh please uh thank you ev everybody because it was an ensemble rehearsal.

Montserrat Caballe22:31

And he says, Miss Cavallia, will you remain, please?

Montserrat Caballe22:34

So I remain. And I thought now come the moment I was trembling. But I na knew what what he's going to say.

Montserrat Caballe22:43

And she says, I am deeply, deeply sorry.

Montserrat Caballe22:48

And in the moment he says that, I was sitting down because I I thought, Oh, I lost my contract. Really?

Speaker 422:54

Yeah.

Montserrat Caballe22:55

But he makes a big pause, and then he says, Because we have to say the other soprano, we don't need her.

Speaker 422:58

Because

Montserrat Caballe23:03

Yeah.

Speaker 423:03

Uh

Montserrat Caballe23:03

And I think this is one of the most beautiful stories I can really because he Maestro was really sweet, understanding.

Montserrat Caballe23:12

And he's still today telling me I don't believe it what that happens. I am sure you have learned it before, only you don't tell me.

Presenter23:19

You can learn very quickly, don't you? When you have to.

Montserrat Caballe23:23

Never, never like this time. I have never done it again. It was the only thing.

Presenter23:28

Mm.

Montserrat Caballe23:29

Uh

Presenter23:29

Let's have your third record. What's that? Watch number three.

Montserrat Caballe23:33

This is Fritz Bunderlich in Sauerflood, uh this building is Betzauverschen.

Presenter23:39

Picture area. Yes. Why'd you choose it?

Montserrat Caballe23:42

Uh because when I was in Bremen, my first my fourth year of career, my first year season in Bremen, they called me to do Sauber Freud in the festival in Lausanne and they explained to me that Wunderlich was the tenor. I could believe it, but it was so I went there and at the moment of the Pre Generale, before the dress rehearsal, he was looking for for uh this billnies, you know, the the little thing they have in the hand.

Presenter24:19

The little picture.

Montserrat Caballe24:19

the little picture. And they don't find it, they don't find it, they don't find it.

Montserrat Caballe24:24

And I have it at the time to to have uh in here.

Presenter24:29

A little miniature round your neck.

Montserrat Caballe24:30

Yes.

Presenter24:32

Esme

Montserrat Caballe24:33

And it was done for a big miniaturist in Barcelona through the family that have paid me the studio. The sponsor, you say sponsor. And they know this person and they make a miniature of myself. So I think it was when I was nineteen. It was a wonderful miniature. I don't have it anymore. And

Speaker 124:38

Distributed.

Speaker 424:45

Mm.

Speaker 124:46

Yeah.

Montserrat Caballe24:54

So because it was almost the same shape, the one he holded.

Montserrat Caballe24:59

I told him Herrn Bunderlich, Volenzi does in the moment uh do you want this for for the moment?

Speaker 125:05

Do you want this for the moment?

Montserrat Caballe25:08

And he saw it says yes, thank you.

Montserrat Caballe25:10

and he sung the Olaria with that.

Montserrat Caballe25:14

He asked me

Montserrat Caballe25:15

than for the generale. And he asked me for the primitive, and I was very surprised, because they had found it already. And I told him, Herbundolich, why do you ask me that when you have

Montserrat Caballe25:28

the the the piece of the theater and she says, Because these buildings is really wonder shen and they make me an inspiration. You mind, I keep it for my future summer fruits.

Presenter25:36

Yeah.

Speaker 125:36

Uh

Montserrat Caballe25:40

I give it to him. I'm sorry, I give it to him. And he has always said and w before uh he's uh

Montserrat Caballe25:51

After that time, yes.

Presenter25:53

Oh, that's a nice cop.

Montserrat Caballe25:54

Advice, really?

Presenter25:56

Let's listen to him.

Montserrat Caballe25:56

A good one.

Speaker 426:16

I know the yeast is

Speaker 426:22

Peace.

Speaker 426:24

Ush.

Speaker 426:28

Earth's freedom is fair for real.

Speaker 426:36

Mine

Speaker 426:37

Her sweet Lord.

Speaker 426:52

Let's be tonight.

Presenter27:02

Fritz von der Lich singing the Picture aria from The Magic Flute.

Presenter27:08

When did you first sing at Cotton Garden?

Montserrat Caballe27:11

Uh my first royal it was in Traviata and I think when my memory don't make me tricks it was about nineteen seventy one I think something like seventy one seventy two seventy four.

Presenter27:26

Yes, and now of course you're a regular visitor, we're glad to see.

Montserrat Caballe27:30

Well, yes, almost.

Presenter27:32

And you toured with the Covent Garden Company in the Far East, didn't you?

Montserrat Caballe27:36

Yes, it was a wonderful experience, marvelous.

Presenter27:39

You sing a very wide variety of roles, inc including modern composers like Berg and Hindermit, Stavinski.

Montserrat Caballe27:46

Intimate speaker

Montserrat Caballe27:48

Yeah. How do you know that? Because I have not sung that for many years I don't.

Presenter27:49

You know,

Presenter27:50

'Cause I have not sung that for many years I know. How many roles do you have in your repertoire? I have not.

Montserrat Caballe27:55

One hundred and two.

Presenter27:56

One hundred and two.

Montserrat Caballe27:57

Mm.

Presenter27:58

That is a lot, isn't it?

Montserrat Caballe27:59

Yeah.

Presenter28:01

How many operas have you recorded?

Montserrat Caballe28:04

Ah, thirty three operas complete.

Presenter28:08

and it's obvious that you have a very special affection for Early Verdi.

Montserrat Caballe28:13

Well, I love it very much indeed. Yes.

Presenter28:16

In Spain, have you ever sung in those very special Spanish operettas, the Zarzuelas?

Montserrat Caballe28:21

Yes, not in the Sarsulas really, because it's non-companies, and when they put a company together. It is for them to work.

Presenter28:30

It's very specialized, isn't it?

Montserrat Caballe28:31

Yes, it is. I have sung in concerts some arias, some duets. I have uh do some recordings of arias as well on duets.

Presenter28:35

Yeah.

Montserrat Caballe28:41

And I have recorded Sarzuela's two complete.

Speaker 428:45

Hmm.

Montserrat Caballe28:45

I think it's three or four. N not very much indeed.

Montserrat Caballe28:48

But uh

Montserrat Caballe28:50

It's a music that we like very much.

Montserrat Caballe28:54

And when we have uh sing it abroad, I mean in other countries like England, like New York, etcetera, and lately in Vienna, they love it, they really do. So

Presenter29:08

Let's move on to your next record. What should we have?

Montserrat Caballe29:11

We have Maria.

Presenter29:12

Madea Callas.

Montserrat Caballe29:13

Yes.

Montserrat Caballe29:14

Because, um, like always, I want to have Maria with me, no matter where I am.

Presenter29:20

Did you know her well?

Montserrat Caballe29:21

Yes, yes indeed. And Fon Maria, I I would like to to listen in this island the little regitativo before the anoncre de Mirarte.

Montserrat Caballe29:35

which is lanello, lanelo, or perduto and she says always that in that smoire regitative,

Montserrat Caballe29:46

He explained his own life in these few words.

Montserrat Caballe29:52

And the people that we know have well, we know it's true.

Montserrat Caballe29:57

Only in this particular part. So.

Montserrat Caballe30:03

Because she represents for me the greatest musician and the greatest singer of all times.

Speaker 430:31

Uh

Presenter31:06

Maria Callis in Arrestitive from Bellini's La Somnambula.

Presenter31:12

How far ahead do you book engagements?

Montserrat Caballe31:15

Well my my last engagement is for the season eighty five, eighty six.

Presenter31:21

As far ahead as that.

Montserrat Caballe31:23

Yeah. I don't have many for that season, but I have already three.

Presenter31:23

Yeah, I don't have

Presenter31:26

Yeah.

Presenter31:27

Yeah, so you're all

Montserrat Caballe31:28

They asked me to sign, I signed, what's our thing you do?

Presenter31:31

Oh, not always, I'm sure.

Montserrat Caballe31:32

Not always, but what something really I like.

Montserrat Caballe31:36

However

Presenter31:37

How important in your career do you consider recitals?

Montserrat Caballe31:40

Bam.

Presenter31:41

And you like them to be informal, you like to chat to the audience, you you don't like them to be daunting occasions.

Montserrat Caballe31:46

Not really, but you see after a recital, when you really go to the encourse.

Montserrat Caballe31:55

You don't need to play anymore Diva, what they call Diva.

Montserrat Caballe32:01

And I think for the audience it's nice too that they know you have done whatever better or the not better your prociter, your little ovent, like has to be. And after.

Montserrat Caballe32:16

Enjoy very much with the audience together.

Montserrat Caballe32:20

For the let's say, what is uh the perhaps a joy for them and a joy from for ourselves because a joy you have done.

Montserrat Caballe32:27

A good performance. You have done your job well.

Montserrat Caballe32:31

The audience has enjoyed it. So it's the moment the size of celebration. The encores are the cup of champagne for me.

Presenter32:37

Yeah.

Presenter32:39

Are you a nervous performer?

Montserrat Caballe32:41

Yes, very, very much.

Presenter32:43

Do you have superstitions?

Montserrat Caballe32:45

I

Presenter32:45

Certain clothes or certain objects you like to have.

Montserrat Caballe32:45

Don't you think

Montserrat Caballe32:48

No, no. I mean, I am so big.

Montserrat Caballe32:53

I mean so fatty that

Montserrat Caballe32:57

Perhaps I like not to look more as I am and sometimes I ask if they try to make at least like I am. I don't know if that is a superstition

Speaker 133:05

I don't know if that is a superstition.

Speaker 433:07

Yeah.

Presenter33:08

Yeah.

Speaker 433:08

Yeah.

Presenter33:08

Yeah.

Speaker 433:08

Yeah.

Presenter33:09

Yeah.

Montserrat Caballe33:10

Well, no, I don't think I have I have uh superstitions. At least I don't remember in that moment.

Presenter33:14

I don't know.

Presenter33:17

Right. Record number five.

Presenter33:20

If we had Bellini, where do we go now?

Montserrat Caballe33:22

We have uh the winter sturme from Valkyrie with Melchior.

Presenter33:27

Milk here.

Montserrat Caballe33:28

Mm.

Presenter33:28

Why do you choose him?

Montserrat Caballe33:30

Because my father loved it, because I love it, because I think that was a real Wagner tenor.

Speaker 433:53

Christen light and lique wonder bab and there is beautiful things.

Speaker 434:08

Why girth not lock thine own?

Speaker 434:15

Big lines on the season.

Speaker 134:16

Uh

Speaker 434:20

All the disturbs, sire and form and blows, and blemen, time on spots and springs of rob.

Speaker 134:28

Uh Cool.

Presenter34:35

Melchior in the first act of Wagner's The Valkyrie.

Presenter34:40

When is your helm?

Montserrat Caballe34:42

in Barcelona in Spain.

Presenter34:44

How far out of the town?

Montserrat Caballe34:46

We have an apartment in the city because of the school of the hills are in the city.

Presenter34:50

You have two children, is that right?

Montserrat Caballe34:51

Yes, a boy of fourteen and a girl of nine. I'm very, very old. And and well and uh we have a farm, which you have the what we call the real house, the real home.

Presenter35:06

Do you raise stock or or crops?

Montserrat Caballe35:09

It is a a forest farm, you say. It is where the the trees every year they signal the protection of the mountains. How many trees every year you can cut down for the necessary of the of the wood. Yes, forestry. But in the same time, in all these years we have some cows and we have uh two different races. Two different kinds of races. Yes, yes, two different kinds. Uh one has Charolet from Strasbourg in France, and the other are Limousin.

Speaker 135:20

Thank you.

Presenter35:23

Come down.

Presenter35:28

Yes, forestry.

Presenter35:33

Mm-hmm.

Presenter35:39

Two different kinds of

Montserrat Caballe35:49

which is the other part, close to the Normandy up and then we have what we call our own Aranesas. And these these three kinds which he has developed and we have many, many little children of them.

Montserrat Caballe36:07

And it's it's wonderful.

Presenter36:09

I'm told that you love working on the farm. You like driving driving tractors.

Montserrat Caballe36:14

Well, I do. How do you know? I mean, I I I do I don't do it well, but sometimes I have done it, yes. It's difficult and it's dangerous.

Presenter36:22

Now you are married to the tenor Bonabet Marty. Can you often sing together?

Montserrat Caballe36:24

Can you

Montserrat Caballe36:27

Well, at the beginning when we we know each other, it was on a stage, it was with Madame Butterfly. And at the beginning we could not sing together. Then after one year we went married to the one and a half.

Montserrat Caballe36:39

He left his agent and we went together in the same agency and then it was for us possible not really to sing very much together, but at least to be in America together, in Europe together. And in nineteen seventy two my husband has an accident when we were singing in Paris, the the Norma, and uh he has a stomach hemorrhagy hemorrhagy, yeah, and it w was very bad, he has an operation, and after he sang less and less. And in seventy four, I think it was the year he stopped singing because uh because of his health. Now it's wonderful, and in the farm he's very healthy, and every time he can and his uh his work permitted his coming. And otherwise I have twenty two nieces. Twenty-two nieces. Yes. And everyone uh choose his free time to to come make me company in my trips, which is wonderful.

Speaker 437:00

Yeah.

Speaker 137:00

Yeah.

Speaker 437:02

Yeah.

Speaker 137:15

Now it's one

Presenter37:26

Yeah.

Presenter37:34

How much time do you get at home with your husband and children at the farm?

Montserrat Caballe37:36

A husband.

Montserrat Caballe37:38

At the farm, uh every year I am there one month in summer time. And then of course when the children have the the holidays in pack, we are almost there all the time.

Presenter37:48

Yeah, we are

Presenter37:49

And I know that even between performances you fly off just to spend a day.

Montserrat Caballe37:53

You know very much.

Presenter37:55

I am

Montserrat Caballe37:56

I am not supposed to tell you that. No, you are not. Because I am supposed to be in the city. Only my luggage is in the hotel. They remain in the hotel, so no matter I can be.

Presenter37:57

No, you're not.

Presenter37:59

Yeah.

Presenter38:01

The bottom

Montserrat Caballe38:05

And the Sussex, no? Taking good air.

Presenter38:07

I'm going to the right.

Presenter38:09

Nobody knows that technically you're breaking your contract. Let's get on to record number six.

Presenter38:15

What shall we have now?

Montserrat Caballe38:16

We have the four last songs with Elizabeth Shbatkov from Strauss. Strauss is one of my Volovo's composers and nobody ever sang Strauss like Elizabeth Batkov. And I choose the last song in Abenrot, because when you are in a desert island again and you have to take eight records I think you have to think in the memories, in the good things, in the nice things, in the musical things and when the time passes, one day you go. So it's good to have a music to prepare yourself. So I think this is a music of that kind, with his magical voice.

Presenter39:55

Elizabeth Schwartzkopf singing in Arbendrot the last of Richard Strauss's four last songs and alas only a part of it. Let's go straight on now to your seventh record. What next?

Montserrat Caballe40:08

It is the ballad oppus twenty three from Chopin.

Montserrat Caballe40:14

Played by Benedetto Michelangeli.

Montserrat Caballe40:17

He's like magic.

Montserrat Caballe40:19

and in this ballad at twenty three

Montserrat Caballe40:21

Shopping is magic too, so two magicians together I think for a desert island is something superb.

Presenter41:31

Part of Chopin's Ballade No. One in G minor, opus twenty three.

Presenter41:37

Could you look after yourself on a desert island? There you are. It's quite a nice island. The climate is good, and there's fresh water.

Presenter41:43

and their trees

Montserrat Caballe41:46

Of course, of course I could. Why not? Imagine the column.

Presenter41:51

Yes, and you're very good on the farm, so obviously you're good with your hands. You could build a shelter somewhere to live

Montserrat Caballe41:57

Hot and clean

Presenter41:57

Yeah.

Montserrat Caballe41:57

Yes, yes, of course, I could.

Presenter42:00

What could you find to eat?

Montserrat Caballe42:02

Well, first wraiths, because you never go any poison of wraiths. I don't know if you know that, but this is good.

Presenter42:09

Races are roots.

Montserrat Caballe42:11

And later on, look for fruits of a disenny in the island.

Presenter42:15

And

Montserrat Caballe42:17

Can you fish? Have you ever done any fishing?

Montserrat Caballe42:20

You see, a fish is an animal.

Presenter42:22

Yes.

Montserrat Caballe42:23

And this is another point which we have not touched, but I feel myself as an animal too.

Montserrat Caballe42:30

This is an animal that uh has the right to think.

Presenter42:30

That is a value.

Montserrat Caballe42:34

I don't think he has the right to eat another animal, excuse me.

Presenter42:38

No. You don't eat meat.

Montserrat Caballe42:40

I don't.

Presenter42:41

Will you try to escape?

Montserrat Caballe42:43

From the island?

Presenter42:43

Yes.

Montserrat Caballe42:44

Why?

Presenter42:45

Yeah.

Montserrat Caballe42:45

Well

Presenter42:46

Well, I thought you might like to get home if you build a craft, or

Presenter42:50

You could sail home on a raft.

Montserrat Caballe42:51

One listen.

Montserrat Caballe42:53

One needs an island where you're going alone to be the rest of your life.

Montserrat Caballe42:59

You don't try to escape.

Montserrat Caballe43:01

You accept it. When it's an island that you going and can escape, you don't take eight records.

Presenter43:10

Right.

Presenter43:11

So you're going to settle there. And what's your last record? What's the eighth record you plot with you?

Montserrat Caballe43:17

This is the record this Catalin Ferrier uh.

Presenter43:22

Mendelssohn's Elijah.

Montserrat Caballe43:24

Because I think

Montserrat Caballe43:27

Really, that is very human prey, this Mendelssohn song.

Presenter43:32

Prayer.

Montserrat Caballe43:33

Prayer, yes. And somehow, somewhere, has to be a Lord. And because has to be a Lord, it's good to pray to a Lord, like a human being. And Mendelssohn in this song has produced a song which is a a prayer

Montserrat Caballe43:52

that prays as a human being

Montserrat Caballe43:54

To alar.

Montserrat Caballe43:57

I think in the moment you die, or in the moment you feel you're going to die, you have to pray to a Lord. That is why I choose this Mendelssohn.

Speaker 444:18

I can't remember.

Presenter44:59

Kathleen Ferrier singing O Rest in the Lord from Mendelssohn's Elijah. Now if you could choose only one record instead of eight, which would it be?

Montserrat Caballe45:12

Either I have all

Montserrat Caballe45:14

Would I da I have only the memories of all. I don't choose one.

Presenter45:18

All right, they're all equally precious.

Montserrat Caballe45:20

To me, yes.

Presenter45:21

Right. Now you may take one luxury with you.

Montserrat Caballe45:24

A box to put the records in?

Montserrat Caballe45:28

And something to clean it so that they keep as longer as I'm going to live there.

Presenter45:32

Not a good idea. Won't let the sun get at them.

Presenter45:35

And one book. Now you already have the Bible and the works of Shakespeare.

Montserrat Caballe45:40

Well

Montserrat Caballe45:42

uh done wi with we don't need it because I wanted to choose the Bible.

Montserrat Caballe45:46

And he's already there.

Montserrat Caballe45:48

And with the Bible, you know, you never feel alone because you agree or you don't agree with them.

Montserrat Caballe45:55

What is written there?

Montserrat Caballe45:57

And

Montserrat Caballe45:58

A thousand times you read the Bible, a thousand times you discover something new. I think it's really, with all respects to all the other books in the world, it's the only book really that you never know what is in it.

Presenter46:15

So that will suffice.

Montserrat Caballe46:17

Mm-hmm.

Presenter46:18

And thank you, Montserrat Cavalli, for letting us hear your Desert Island Discs.

Montserrat Caballe46:23

Thank you very much for inviting me to this um how do you say it in English?

Presenter46:28

Guess what?

Montserrat Caballe46:29

Uh

Presenter46:29

What island?

Montserrat Caballe46:29

This no, no, I mean to this uh program. Oh, programme.

Presenter46:31

Hello program

Montserrat Caballe46:33

Listen, my English goes worse than worse.

Presenter46:35

It's getting better and better. And thank you very much for coming. Thank you. Goodbye, everyone.

Montserrat Caballe46:36

Better and better.

Montserrat Caballe46:38

Thank you.

Speaker 146:48

You've been listening to a download from the Desert Island Discs Archive.

Speaker 146:52

For more downloads, please visit the Radio4 website.