Tomasz Konieczny's warm baritone made Stolzius especially sympathetic, and the tenor Daniel Brenna's bright, penetrating voice served to characterize Desportes.
Even during his well-documented years of excess, the saccharine sweetness of James Taylor's voice served him well.
Carlo Allemano's sizable, darkish tenor voice served for Orismondo's many moments of anguish, while Adrian Strooper's brighter, more focused tenor supplied a handsome contrast in Armidoro's music.
For a time, a woman known as La Voz (the Voice) served as his gatekeeper, sending and receiving messages on his behalf.
As a devoted member of DOROT's Honorary Board, Dr. Steinberg's compassionate voice served to champion the agency's mission to assist homebound and homeless Jewish elderly.
That noble face always made an impact, and he found roles in which the fragility of his decaying voice served dramatic ends, like the seedy Schigolch in Berg's "Lulu" and, in the end, the Speaker in Schoenberg's "Gurrelieder," a part he called "the Wotan of my old age".
And in addition to an atmospheric blend of timbres — Matt Pavolka's acoustic bass, Bill McHenry's tenor saxophone and Ben Monder's electric guitar — it featured a vocal turn in Spanish by Mr. Klein, whose quiet singing voice served a warm and humanizing purpose.
To balance out athletics, he participated in amateur theatrics, where his strong voice served him well.
