The Palau Güell recently hosted in its wonderful attic a small exhibition dedicated to Montserrat Caballé's stage costumes. A selection of the lavish outfits that the diva wore on great operatic stages around the world to embody characters such as Maria Stuarda, Anne Boleyn, Elisabetta di Valois, or Tosca. The exhibition, organized by the Museum of Performing Arts (MAE) of Barcelona, allowed an unusual proximity to exuberant pieces that the operatic public, in general, only sees from afar, on stage. Caballé's operatic wardrobe was fit for a queen or a cardinal, I remember thinking. Also that a figure of her dimension would make for a great exhibition in one of the city's main exhibition spaces.
A few days later, it was reported in the press that the dream of the Montserrat Caballé Foundation is precisely to create a museum dedicated to the diva. Interviewed by Foment del Treball magazine, Montserrat Caballé Claus, niece of the soprano and president of the eponymous foundation, explains that the Montserrat Caballé Museum project is not just a vague wish, but that, before the pandemic, the first steps were already taken to make it happen: "Conversations were initiated with the administrations, but realistically it is not just about having a building, but the costs involved in its maintenance are many and, today, they cannot be assumed." And she concluded: "In any case, let's not lose hope that one day this museum can be a reality."
Personally, here and now, I declare myself fervently in favor of this project. Next, I will try to briefly argue it.
Firstly, I believe that Barcelona should dedicate a museum to Caballé simply because she deserves it. For her undisputed historical dimension. Montserrat Caballé has been recognized worldwide as one of the greatest sopranos of all time. As the last diva of bel canto. Therefore, it makes all the sense in the world that her city dedicates a space to her that preserves, disseminates, and vindicates her legacy.
Barcelona should dedicate a museum to Caballé simply because she deserves it. For her undisputed historical dimension. Montserrat Caballé has been recognized worldwide as one of the greatest sopranos of all timeIn second place, because in the nineties she performed with Freddie Mercury what was closest to an anthem of the city: Barcelona.One must be a very hard-of-hearing or hard-hearted Barcelonan to listen to Caballé and Mercury singing this great song and not be moved.WithBarcelona, Caballé conquered the general public and also became a kind of pop diva. By the way, to delve into the history of friendship and mutual admiration between these two giants of music, it is essential to seeFreddie Mercury: The Great Pretender, an exceptional BBC documentary about the Queen singer. It contains some statements by Caballé herself that are priceless.
Thirdly, because it's time for Barcelona to dedicate a museum to an exceptional woman. It is shameful that, at this point in time, women are still scarce in the city's street names, as well as on museum walls or in galleries of illustrious figures.
Twenty years ago, Caballé, without being a militant feminist, achieved a historic milestone for equality. In 2001, she became the first female member of the Círculo del Liceo, an exclusive gentlemen's club that, since its founding in 1847, only admitted men as members. Upon entering, for the first time, the venerable rooms of the Círculo in her own right and not as a "señora de" (wife of), Caballé told the large audience that had gathered to receive her: "Until now I have entered without papers, now I will do so as a full member. I know that all members of the Círculo del Liceo love me, even those who last week voted against the entry of women. I want them to know that women do not want to eclipse or hinder men, we only want to keep them company. And don't get angry, however, deep down, when women set their minds to it, we always get our way," (El País, February 7, 2001). It was not easy, because a part of the chivalrous members of the Círculo del Liceo defended that anachronistic privilege tooth and nail, but finally Caballé got her way and, as of today, nearly 30% of its members are already women.
Beyond the singer's merits to have a museum in her city – surely there are a handful of illustrious Barcelonans who would also deserve it – I am convinced that the Montserrat Caballé Foundation project is especially interesting for Barcelona for a series of reasons that I also want to point out:
Firstly, because it would reinforce Barcelona's status as an opera capital. Therefore, this facility would need to be perfectly connected with the Gran Teatre del Liceu.
Secondly, because it could have an undeniable valuable pedagogical function. It could receive visits from schools across the country and help awaken a taste for opera in new generations. Who knows if also some vocations.
And, in third place, it could also be an asset that would attract the kind of tourism that we always say we would like to come to Barcelona. To be clear, the one that goes to Vienna and not to Magaluf.
I am not clear that Barcelona should have a Hermitage franchise that, in any case, they can install here or in Popular China, as that one used to say. What I have no doubt about is that the Montserrat Caballé Museum can only be in Barcelona.Hopefully, this project will not get bogged down by the usual miseries: that opera is elitist, that Caballé was from this party or that, that why Caballé and not Victoria de los Ángeles, that if this, that if that.
I am not clear that Barcelona should have a Hermitage franchise that, in any case, they can install here or in Popular China, as that one used to say. What I have no doubt about is that the Montserrat Caballé Museum can only be in Barcelona. Therefore, Barcelona would do well to make it possible.
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