Caballe gives definity to each note in the ornaments as at 0:18 and 0:30. Each note can be distinguished from the previous one; it is not merely a smere of sound-paint but a clearly articulated shape. Unfortunately, the space that this performance was given in does a disservice to that clarity and makes it appear more smudged than this crystalline sound actually is. At 1:19 there is a note which grows from this sort of ethereal sound into something which is very slightly more tangible and pure, though the line retains its dream-like quality. The attack (if you can even call it that when you are dealing with sounds this delicate) of the top note of the figure at 2:28 has a quality which I can only connect to a well-articulated note on the flute. 4:52 the sound drops to such a low volume, (while maintaing it’s immaculate quality) that it is almost literally unbelievable.
Glad to be listening with you.