tdc -> I wasn't implying that peoples listen to her because she's good looking. I'm just saying that a big part of her popularity and even of her career is based on this (have you seen all these photos ? do you imagine Starobin wearing a dress and taking a sexy pose with a teddy bear ?).
When I say that I don't like her technique, it's from a guitarist point of view. Her technique seems somewhat barbarian, full of tension and not very subtle. And so is her tone, IMO. Now, that's just my opinion.
About Walton, sorry if I wasn't clear in what I was saying : the five Bagatelles are good pieces, but they're too much played. I'd rather hear Rawsthorne's Elegy or some other British guitar music of the XXth century. Now, that's her choice, she does what she wants.
About Albeniz, I have always been sckeptical about whether or not he said that. I don't really trust quotes, particularly quotes that guitarists use to prove that composers such as pianists Albeniz and Chopin preferred the guitar to the piano...
And I was thinking about Iberia when I said that, actually.
About Tarrega... and in general, I don't really care about what guitarists say/think in general Particularly since we're the kind of people to think that Tarrega was a great composer...
I prefer to trust my (not so good) ears. And they tell me that Tarrega, the composer, who is born after Fauré, Mussorgsky and so on, and who wrote a few cute salon pieces in a stale conservative language isn't a great composer.
Since we're at it I consider that Sor was the best guitarist composer of the whole XIXth century (Tarrega included), and what wrote Sor is very far from equaling what wrote even relatively obscure composers such as Reicha or Clementi.
Our music from 1750 to 1920 is at best nice, cute. I know that it's a pretty extreme opinion (for a guitarist) but I think it's the truth.
Seriously, Clementi's Gradus ad Parnassum alone is worth all the XIXth century repertoire for guitar. And they're piano études.