There is nothing that can be written about Caballé’s life that has not already been extensively documented. No one can or should be forced to share the view that Caballé was an important singer, but what harm is there in choosing to remember her at her best? That this has transpired in the wake of the passing of Catalan soprano Montserrat Caballé is indicative of the precarious nature of humanity’s grasp on civility. After the death of an individual who was almost universally acclaimed as a great artist, it is sadly inevitable that someone with opinions and a forum via which to share them feels compelled to cite all of the reasons why the departed individual was not great. In an era in which ‘alternate facts’ are employed in battles of veracity that render the very notion of truth irrelevant, it is not surprising that Art, itself essentially a sort of alternate fact in too-literal society, is undeniably divisive. Prima donna del cuore: soprano Montserrat Caballé (1933 – 2018) in the title rôle of Francesco Cilèa’s Adriana Lecouvreur at The Metropolitan Opera in 1978
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