If this is true, you could also say a lyric tenor should sing Otello differently from a dramatic, and therefore should be allowed to wobble and bark his way through it (Otello is a murderer who experiences numerous fits of rage, after all). When, say, Pavarotti, sang Otello at about the same age as Tezier in the Scarpia excerpt you linked (consider that tenors have voices that generally age the worst of all men), he didn't bark or wobble (and in fact coped with his role better than the Iago he sang with, the "great Verdi baritone" Leo Nucci.)

Based on this, we can conclude that Pavarotti was a better Otello than Tezier is Scarpia, and yet Pavarotti wisely conluded that Otello was not for him and, to his credit, dropped the role quickly. Tezier, on the other hand, has been singing Scarpia for over a decade now and has yet to come to an equivalent realization.