He sang several more larger roles at the Met over the next eight years, including Alfred in Die Fledermaus, Fenton in Falstaff, Idreno in Semiramide, the Italian Tenor in Der Rosenkavalier, and Tonio in La fille du régiment.
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Although primarily associated with Italian-language comic roles, Corbelli’s résumé shows his wide-ranging interests and versatility, including French and German roles (Sulpice in Donizetti's La fille du regiment, Papageno in Mozart’s Die Zauberflöte), Baroque opera (Seneca in Monteverdi’s L'incoronazione di Poppea) and a twentieth-century English-language opera (Nick Shadow in Stravinsky’s The Rake's Progress).
After studies in Paris with her mother, her first professional engagement was in 1879 at Étretat; she made her debut at the Opéra Comique on 19 April 1880 as Marie in La fille du régiment.
The Opéra-Comique remained at the theatre for almost eight years, and the premieres of Hérold's Ludovic and Le pré aux clercs, Adam's Le chalet and Le postillon de Lonjumeau, Halévy's L'éclair, Auber's L'ambassadrice and Le domino noir, and Donizetti's La fille du régiment were all given there.