This project has been, as I previously noted, an eye-opener in many ways. It has taken turnsthat I didn’t expect. I’ve concluded that the difference in singing baritone and tenor isn’t that big. Or at least, not in theory. I have always tried to approach singing as something rational instead of emotional, being prestigious instead of vulnerable. All of that because of the need to be in full control. But I’ve come to realize that I can’t escape the imperfections no matter how scientific the approach. Don’t get me wrong, I can express emotion in music, I can let my creativity flow. But I haven’t been able to do that through singing, because just a littletwist of the valve made the flood gates open wide. I’m also glad for this project and for the technical moments of insight. It is frustrating, yes, to realize that you’ve been doing something wrong. But I’ll rather find out now than later. And I do genuinely believe, that if I hadn’t had these moments during these months, both technical and emotional, I think that I can safely say that my career would have been pretty short-lived. No matter the fach. During these months I’ve focused on a very dramatic tenor-repertoire. Partially because I think that it is the repertoire that I will spend a lot of time within the future, and partiall because it’s written a little bit lower and with spaces to breath in, so I can build up my stamina for some spinto roles. Even though that I’m singing Siegmund, Otello and Luigi at the moment, doesn’t mean that I am ready for those parts in a production for at least a few more years. I hope that this reflection can bring something to fellow colleagues. If nothing else, then at least a reassurance that most of us struggle from time to time. You’re not alone on your journey.