the Sacristan and Bartolo, but praised his singing. From 1948 to 1961, Wallace performed regularly at Glyndebourne Festival Opera, making his début as Samuele in Un ballo in maschera but soon specialising in basso buffo roles, notably Bartolo in both The Marriage of Figaro and The Barber of Seville. By the early 1950s his comic skills were attracting unreserved praise. He added the buffo role of Melitone in La forza del destino to his repertoire, but he also played more serious roles including Mephistopheles in Gounod's Faust. He made his Italian operatic début as Masetto in Parma in 1950. Later, he sang Don Magnifico in La Cenerentola in Rome in 1955 and Bartolo in Barber in Venice in 1956. He again sang Don Magnifico, this time in English, for Sadler's Wells Opera in 1960. In 1961, The Times wrote of his Bartolo, "as magnificent a character study as ever, excellently sung and never for a moment over-played." He performed at the Bregenz Festivals in 1964 and 1965. From 1965 onwards he appeared regularly with Scottish Opera, for whom his roles included Leporello in Don Giovanni, Pistol in Falstaff to the Falstaff of Geraint Evans, and the Duke of Plaza Toro in The Gondoliers. Again in Scotland, he appeared at Ledlanet Nights in his one-man shows and other performances including Colas in Mozart's early singspiel Bastien und Bastienne; Schlendrian in Bach's Coffee Cantata; and Mr Somers in Gentleman's Island by Joseph Horovitz. Also in the 1960s, he sang the main Donizetti buffo roles, Don Pasquale (Welsh National Opera, 1967) and Dulcamara in L'elisir d'amore (Glyndebourne Touring Opera, 1968). A late addition to his repertoire was Polyphemus in Handel's Acis and Galatea in 1977. Though not a fluent sight-reader of unfamiliar music, Wallace took on out-of-the way operatic roles including Konchak in Prince Igor, Wagner in Busoni's Doktor Faust, the title role in Weber's Peter Schmoll, the buffo lead, Buonafede, in Haydn's Il mondo della luna, and Calender in Gluck's comédie mêlée d'ariettes, La rencontre imprévue. Plays, revue and other stage shows Early in his Glyndebourne career, Wallace consulted the festival's administrator Moran Caplat on whether he might sing in non-operatic productions elsewhere. Caplat gave him his blessing as long as he did not damage his voice. In opera Wallace was generally cast in comic roles, and he used his comedic skills when he began to appear in revue. In 1953, as