There were no contraltos available in the mentioned cases, nor was the singer Giovanni David yet, who was to provide Rossini with a third solution: a new type of opera seria tenor voice, springing from the experience of the so-called "half character tenorini", who used to be employed in comic operas and who had clearer and lighter, and therefore more agile, voices than those of the proper baritenors. After still using a basically central and slightly virtuoso writing for the tenor in his early comic operas, Rossini elevated the tenor's tessitura to extremely hard high pitches of virtuosity and coloratura as soon as singers' abilities allowed it. Such was the case of Serafino Gentili, the first performer of "Lindoro" in L'Italiana in Algeri, of the cited David, the first performer of "Don Narciso" in "Il turco in Italia", of Giacomo Guglielmi, the first performer of "Don Ramiro" in "La Cenerentola" and, finally, of Savino Monelli, the first performer of "Giannetto" in "La gazza ladra". When Giovanni David entered Barbaja’s company in Neapolitan theatres, he was entrusted with the young and/or noble lover’s parts, whereas Nozzari and other baritenors got the roles of rancorous or villainous antagonists, or of army leaders. The part of "Otello", created by Nozzari, cannot be considered a real "amatory" role, but "has psychologically the characteristics of the modern baritone, whether he is seen as the heroic general or expresses fury and jealousy".