Shine like a grapefuit... oh wait

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Tenor is a type of classical male singing voice, whose vocal range is normally the highest male voice type, which lies between the baritone and countertenor voice types. The tenor's vocal range extends up to C5, or "tenor high C". The low extreme for tenors is roughly A♭2 (two A♭s below middle C). At the highest extreme, some tenors can sing up to two Fs above middle C (F5). The tenor voice type is generally divided into the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or spieltenor.

The vocal range of the tenor is one of the highest of the male voice types. Within opera, the lowest note in the standard tenor repertoire is F#2 in Arthur Sullivan's sparsely performed Cox and Box in a cadenza written for the role of James John Box (it should be noted, however, that because of the extremity of this note in a tenor range, many performers will take that part of the cadenza up an octave). Within more frequently performed repertoire, Mime and Herod both call for an A2. A few tenor roles in the standard repertoire call for a "tenor C" (C5, one octave above middle C). Some, if not all, of the few top Cs in the standard operatic repertoire are either optional—such as in "Che gelida manina" in Puccini's La bohème—or interpolated (added) by tradition, such as in "Di quella pira" from Verdi's Il trovatore); however, the highest demanded note in the standard tenor operatic repertoire is D5, found in "Mes amis, écoutez l'histoire" from Adolph Adams' Le postillon de Lonjumeau and "Loin de son amie" from Fromental Halévy's La Juive). Some operatic roles for tenors require a darker timbre and fewer high notes. In the leggero repertoire, the highest note is F5 (Arturo in "Credeasi, misera" from Bellini's I puritani), therefore, very few tenors have this role in their repertoire without transposition (given the raising of concert pitch since its composition).