Next Marko Mimica discussed which music “reached” him most and how he regards expressing himself in various languages.

Next, I asked Marko Mimica which basses he prefers to listen to on recordings.

In Bellini’s opera Norma, the “padre” role of Oroveso, it may be safely said, is “undistinguished”—dull and conventional. The bass entrusted with the role usually will engender two reactions: more frequently than not, “Cut this boring music,” and rather more rarely: “What a pity Oroveso doesn’t have more music.”