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Five other significant Francophone baritones who recorded, too, during the early days of the gramophone/phonograph were Léon Melchissédec and Jean Noté of the Paris Opera and Gabriel Soulacroix, Henry Albers and Charles Gilibert of the Opéra-Comique.The Quaker baritone David Bispham, who sang in London and New York between 18, was the leading American male singer of this generation. The oldest-born star baritone known for sure to have made solo gramophone discs was the Englishman Sir Charles Santley (1834–1922).Notable among their contemporaries were the cultured and technically adroit French baritones Jean Lassalle (hailed as the most accomplished baritone of his generation), Victor Maurel (the creator of Verdi's Iago, Falstaff and Tonio in Leoncavallo's Pagliacci), Paul Lhérie (the first Posa in the revised, Italian-language version of Don Carlos), and Maurice Renaud (a singing actor of the first magnitude).Lassalle, Maurel and Renaud enjoyed superlative careers on either side of the Atlantic and left a valuable legacy of recordings.Traditionally, basses in operas had been cast as authority figures such as a king or high priest; but with the advent of the more fluid baritone voice, the roles allotted by composers to lower male voices expanded in the direction of trusted companions or even romantic leads—normally the province of tenors.More often than not, however, baritones found themselves portraying villains.
They included: Among the non-Italian born baritones that were active in the third quarter of the 19th century, Tamburini's mantle as an outstanding exponent of Mozart and Donizetti's music was probably taken up most faithfully by a Belgian, Camille Everardi, who later settled in Russia and taught voice.
Commentators praised his voice for its beauty, flexibility and smooth tonal emission, which are the hallmarks of a bel canto singer.