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The Tooth Tattoo

Audiobook
1 of 1 copy available
1 of 1 copy available

Peter Diamond, head of Bath CID, takes a city break in Vienna, where his favorite film, The Third Man, was set, but everything goes wrong, and his companion, Paloma, calls a halt to their relationship. Meanwhile, strange things are happening to jobbing musician Mel Farran, who finds himself scouted by methods closer to the spy world than the concert platform. The chance of joining a once-famous string quartet in a residency at Bath Spa University is too tempting for Mel to refuse. Then a body is found in the city canal, and the only clue to the dead woman's identity is the tattoo of a music note on one of her teeth. For Diamond, who wouldn't know a Stradivarius from a French horn, the investigation is his most demanding ever. Three mysterious deaths need to be probed while his own personal life is in free fall.

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    • Publisher's Weekly

      Starred review from February 18, 2013
      In the prologue, set in 2005, to Lovesey’s excellent 13th Peter Diamond whodunit (after 2012’s Cop to Corpse), a young Asian woman who appears to be a music student stops violist Mel Farran in the street after a concert at London’s Royal Festival Hall. Her autograph request proves to be only a diversion for an accomplice to steal Farran’s viola. Seven years later, an acclaimed string quartet, whose previous violist disappeared in Budapest in 2008, recruits Farran. Meanwhile, Bath CID’s Diamond, who’s having some trouble with his significant other, looks into the suspicious death of a woman found in a canal. The only clue to her identity is the tattoo of a musical note on one of her teeth. Lovesey neatly weaves Farran’s experiences with his eccentric new colleagues with Diamond’s investigation. A particularly crafty resolution of the enigmatic mystery shows that this long-running series still has plenty of life. Agent: Jane Gelfman, Gelfman Schneider.

    • AudioFile Magazine
      The Peter Diamond procedurals are very well made, and this one would be particularly entertaining but for the extremely disappointing production and performance. Clive Anderson can act, and he's excellent with accents, but almost all his women have distractingly breathy, oddly pitched voices not found in nature. Worse, he makes a disastrous choice for a key character, the cellist in a world-class string quartet linked to several murders. Cat is written as bigger than life, full of charisma and confidence, but Anderson gives her a low-energy whisper-in-your ear voice that makes no sense and doesn't change when drama demands it. Equally serious are some bad edits, much inattentive phrasing, and an absurd number of recurring mispronunciations. Netsuke is tricky, but Genoa? Budapest? Haydn? Come ON. B.G. (c) AudioFile 2013, Portland, Maine

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  • English

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