As human beings we all deteriorate — I don’t want to use that word, but our bodies don’t do what they used to do when we were in our 20s. The voice can’t do what it used to do. But at that point, you are able to start to move into this character repertoire, this buffo [comic] repertoire, because you don’t necessarily need this beautiful instrument. You need stagecraft. You need to be a character, to let go and be silly or make a fool of yourself. It added 10, 15 years to my career.

What were some of your favorite roles?

When I finally got to do [Verdi’s] “Don Carlo” — as Philip — at the Metropolitan Opera, in a televised version, that was the top of the hill. Where else can you go? But then, years later, “Boris Godunov” came along. I had sung Pimen, I had sung Varlaam — both other bass characters in the opera — but I had aimed for Boris later on because Boris is a dangerous part for your voice. It’s a great acting part. You don’t even need the great instrument — you can just act the whole thing. I’m exaggerating, but there’s a lot of truth in it. That was my next top of the hill. Until “Falstaff,” when I would go home at night after doing the role, and by 4 o’clock in the morning I’d miss him. I’d miss being him. This guy just didn’t give a damn what anybody else thought. He gave me a freedom.