The second possible solution involved the baritonal tenor, but this did not suit the Belcanto-style taste of coeval composers, who shared the traditional dislike for this vocal timbre, as it was considered vulgar at the time. The companies' choices were, as always, limited to the singers available to the various theatres, so this second solution was resorted to when there was no alternative. Rossini, for instance, had recourse to a baritenor as a lover in "Elisabetta, regina d'Inghilterra", at a time when his company included two major singers of that type, and also for "Torvaldo e Dorliska" and "Armida", where, beside the amatory protagonist, "Rinaldo", created by the very prince of Rossini baritenors, Andrea Nozzari, there appear additionally five or six baritonal tenors in secondary roles.