Today, when we lack tenors with his kind of vocal charisma, it is exciting to hear someone with such an enormous, vibrant voice unleash it so confidently.
His tenor lacks the supernatural ease of Pavarotti's in its prime; the lower register is weak, the middle uneven.
He spoke sternly but calmly — his tenor lacked the quiet frenzy of, say, Thomas Drake, the N.S.A. whistleblower, even though most of what he had to say was bad news, if you value electronic privacy or security.
He spoke sternly but calmly—his tenor lacked the quiet frenzy of, say, Thomas Drake, the N.S.A. whistleblower, even though most of what he had to say was bad news, if you value electronic privacy or security.
Spence's tenor may lack the ideal silkiness, but he is an engaging singer with a vibrant sound, capable of soaring above the detailed, shimmering accompaniments of Lili Boulanger's 13 Clairières dans le Ciel, the sixth of which is unabashedly under the influence of Wagner's Tristan und Isolde.
His light tenor voice lacked passion but breathed romance.
As Salud, the soprano Maria Jose Montiel filled the hall with dusky but sometimes edgy sound; as Paco, the tenor Manuel Cid lacked vocal presence.
Their singing made up in commitment for what it occasionally lacked in finesse: the tenor line, which so many choirs seem to find difficult, was in this instance admirably sustained.
What the two tenors of "Duetto" lack is experience: experience to buoy the event on one hand and to guide them through this big-market territory on the other.
Not so assured in these roles are cast B's American tenor Gregory Kunde, who lacks the necessary firepower, and Russia's Marina Prudenskaya, who, while possessing a ruby-red mezzo, has a curious tendency to emphasise every phrase with a crouching bend of the waist.
