As the fourth mystery in the internationally bestselling series opens, Montalbano’s gruesome discovery of a lovely, naked young woman suffocated in her bed immediately sets him on a search for her killer. Among the suspects are her aging husband, a famous doctor; a shy admirer, now disappeared; an antiques-dealing lover from Bologna; and the victim’s friend Anna, whose charms Montalbano cannot help but appreciate. But it is a mysterious, reclusive violinist who holds the key to the murder.
There's a Renault Twingo referred to as having "committed suicide" when Gallo, the station's driver, he of the "Indianapolis Complex", slams into it in a spectacular example of mad driving that had me crying with laughter on page 4 of VOICE OF THE VIOLIN. Which is not a bad writing feat at all, in 4 pages you know that Montalbano's in a mood after a fabulous meal was interrupted by his nemesis Catarella. That his car's in the shop and he has to get to a funeral. That Gallo's a madman, and there's now a green Renault Twingo parked on the side of the road that's now got a smashed rear end. And you're laughing.
There's nothing particularly funny about the subsequent discoveries when Montalbano returns more than a bit intrigued as to why nobody has rung the station breathing fire over the damage to their car. And it's not all plain sailing in this case as Montalbano battles mutual dislike between him and his new boss, has the investigation taken off him with dreadful consequences, and stares down a bit of discontent in his team all whilst he battles to come to grips with a major upset in his personal life.
As is expected in this series, tight, descriptive, brilliant storytelling with a wonderfully engaging central character who has raised grumpiness to a glorious art form.