1 (Rossini: La Cenerentola). Prince of Salerno. Looking for a suitable wife, he swaps clothes with his valet—he wants to be loved for himself, not his position and wealth. Cenerentola falls in love with what she believes to be the valet but her stepfather wants one of his own daughters to marry the prince and excludes her from the royal ball, to which she is taken by Ramiro's tutor. She gives the ‘valet’ a bracelet, keeping its identical partner for herself. She leaves the ball and the Prince goes from house to house searching for her. He recognizes the servant Cenerentola (Cinderella) as the girl he loves, confirmed when their bracelets match. He and Cenerentola are married. Aria: Sì, ritrovarla io giuro (‘Yes, I swear to find her again’); duet (with Cenerentola): Un soave non so che (‘A sweet something’). Created (1817) by Giacomo Guglielmi.
2 (Mozart: La finta giardiniera). Sop. Travesti role. A knight, in love with the Podestà's niece, Arminda. Created (1775) by Tommaso Consoli (sop. castrato).
3 (Ravel: L’Heure espagnole). Bar. A muleteer. Comes to the shop of the clockmaker Torquemada and interrupts assignations between Torquemada's wife Concepción and her lovers. She keeps him occupied carrying clocks up and down the stairs, and is impressed with his strength. Created (1911) by Jean Périer.