LAST year's remake of the bestselling "Three Tenors" CD showed the operatic heros, Luciano Pavarotti, Placido Domingo, and José Carreras, in less than stellar form. Tenors start to worry about their futures around the age of 50. Mr Pavarotti, now almost 60, has his days; Mr Domingo, at 54, sings, when he does, as a baritone and concentrates on conducting. Mr Carreras, who is only 47, bravely fought off leukaemia a few years back but it cost him a much weakened voice. Some opera fans are wondering if it is not time to look elsewhere for the thrills of the grand operatic tenor.

It may still be easier to sell an opera CD on which one of the big three stars performs. But a number of lesser-known singers are sounding considerably better than these distinguished forebears. One is an Argentine, Raul Gimenez, today's most elegant Rossini tenor (on Nimbus NI 5106 and NI 5300). His recent appearance in Paris at the Opera Comique got excellent notices. If, as is his habit, he stays within the limits of his graceful style, Mr Gimenez could keep his voice fresh for years, unlike Messrs Pavarotti and Carreras, both of whom took on roles too heavy for them.

Slim and presentable, Mr Gimenez belongs to a newer generation of tenors who look plausible as romantic heroes--not always a priority in the past. Other leading men who look as well as sound good on stage include Rainer Trost of Germany, who stars in John Eliot Gardiner's new version of "The Merry Widow" (DG 439 911-2) and a British singer, Laurence Dale, who sang the part of Don José in Peter Brook's staging of "Carmen" a few seasons ago.

Two upcoming American talents, who despite their promise have not yet had the chance to record their best roles, are Richard Leech, an excellent Rodolfo in "La Boheme," and Jerry Hadley, one of the best interpreters of Stravinsky's "Rake's Progress". Another young tenor, Roberto Alagna of France, has had better luck with the hazards of recording contracts and has brought out a much-praised version of Donizetti's "Elixir of Love" (Warner/Erato 4509-91701-2). Mr Alagna, who wowed the audience at a recent recital in London's Barbican, is preparing a new version of "La Boheme" for EMI with a brilliant young American maestro, Antonio Pappano.

Spiteful tongues claim that one at least of the Big Three must struggle to read a score. To most younger singers this lack of professionalism would be unimaginable. Joséf Protschka, a German tenor, tackles challenging works such as Hugo Wolf's opera "Manuel Venegas" (Capriccio CD 10 362). Perhaps the finest musicians among current tenors are three Englishmen. All are past 50 and still sound fine. Anthony Rolfe Johnson, after decades of singing oratorios, has broken into works such as "Peter Grimes" (EMI CDS 754832 2). Philip Langridge, also a strong actor, shines in technically punishing works like Schoenberg's "Moses and Aaron" (Decca CD 414 264-2). And Ian Partridge, who is at home with both oratorio and classical song, also sings opera: for example, Berlioz's "Les Troyens" (Philips CD 416 432-2) and Vaughan Williams's "The Pilgrim's Progress" (EMI CMS 764212 2).

There is, in sum, no excuse to whinge about a shortage of tenors now that the Big Three are past their prime. Nor are the only good tenors young tenors. Spain's Alfredo Kraus is 68 (some say he is older) and he has just recorded a new CD (Philips 442 785-2) where he sings one aria with nine high Cs and another with a high D.

Copyright © 1995 Economist Newspaper Ltd. (UK)