The phrase "a tenor part" is correct and usable in written English.
It can be used in the context of music, specifically when referring to a vocal or instrumental part that is written for a tenor voice or instrument.
Example: "In the choir, I was assigned a tenor part, which allowed me to showcase my vocal range."
Alternatives: "a tenor role" or "a tenor voice".
Mr. Altman sang the part of Dr. Falke and Mr. Kempson Gabriel von Eisenstein (normally a tenor part).
Michael Kelly, a baritone, sings what is usually a tenor part with an affecting, Gallic-style vibrancy and lucid enunciation.
His first major role, a tenor part before his voice had broken, was Nanki-Poo in The Mikado.
It's more of a character tenor part, and that is not so much Troxell's gig, I've noticed.
It may not be great opera -- Alfano tempered his flamboyant verismo tendencies with a soupçon of French modernism and a big dash of conservatism -- but it's fun theater, with a big meaty tenor part, and Mr. Domingo's presence has ensured that the run of three performances is already officially sold out.
A baritone singing the tenor part of Don Jose, Bradley Greenwald has a strong voice, though his acting seems at times a bit stiff.
Michael Schade sang the tenor part of "Nachthelle" with an admirable sense of his surroundings: never pushing, always restrained, relying on his personality rather than the power of his voice.
Like Marbeck, various English composers used the psalm tones in their polyphonic (multipart) psalm settings, placing them in the tenor part "measured," i.e., with a regular metrical pattern.
The leading tenor part of Don José was given to Paul Lhérie, a rising star of the Opéra-Comique who had recently appeared in works by Massenet and Delibes.
Now a forty-four-year-old* singer named Gary Lehman, who recently made successful appearances at the Los Angeles Opera, would have a crack at Tristan, which is often considered the most taxing tenor part in the repertory.
Now a forty-seven-year-old singer named Gary Lehman, who recently made successful appearances at the Los Angeles Opera, would have a crack at Tristan, which is often considered the most taxing tenor part in the repertory.
