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Rh to write operas for solo voices, of which the principal rôles were cast for the Prima Donna and for the contralto, but whenever he could, he wrote his operas with choruses, like Ariodante, Alcina, and he only owed it to himself that he did not give to the tenor or to the bass their place in the concert of voices. If it was not possible to break the uniformity of the solo voices by the addition of