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In the history of opera, the comprimari singers are rarely celebrated. These are the character actors of the genre: reliable singers, physically or vocally not stars, but with the flexibility and professional accomplishment to appear on the same stage with the <a href="spotify:artist:2uB3KPGd1ZUGRsox7N1iH5">Caruso</a>s, <a href="spotify:artist:0bjdfjE8XbLa2Odstu6E1E">Callas</a>es, <a href="spotify:artist:0Y8KmFkKOgJybpVobn1onU">Pavarotti</a>s and Frenis in roles like Goro, Sparafucile, Baldacchi, Grimgerde, or A Nazarene.
<a href="spotify:artist:5tjg4QOIPwcpyh63osiYiA">Franco Calabrese</a> was one of this type. He worked in Italian opera and in the 1950s participated in some important opera projects in smaller parts. These included parts in two classic <a href="spotify:artist:0bjdfjE8XbLa2Odstu6E1E">Maria Callas</a> recordings: Tosca and Macbeth.
<a href="spotify:artist:5tjg4QOIPwcpyh63osiYiA">Franco Calabrese</a> was one of this type. He worked in Italian opera and in the 1950s participated in some important opera projects in smaller parts. These included parts in two classic <a href="spotify:artist:0bjdfjE8XbLa2Odstu6E1E">Maria Callas</a> recordings: Tosca and Macbeth.
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