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On the international stages of opera, concert, and recital, Canadian John Tessier has garnered attention and praise for the beauty and honesty of his voice, for a refined style and creative versatility, and for his handsome, youthful presence in the lyric tenor repertoire.  The Juno Award winning artist has worked with many of the most notable conductors of our day including Lorin Maazel, Leonard Slatkin, Plácido Domingo, John Nelson, Franz Welser-Möst, Emmanuelle Haïm, Charles Dutoit, Donald Runnicles, Robert Spano, Yannick Nézet-Séguin, and Bernard Labadie. Mr. Tessier’s 2013-2014 season sees him performing as Arturo in Boston Lyric Opera’s production of I puritani with conductor David Angus, Nadir in The Pearl Fishers with the English Nation Opera directed by Penny Woolcock, Gerald in Lakmé with L’opéra de Montréal, and as Lindoro in Rossini’s L’ Italiana in Algeri with Calgary Opera. Symphonic highlights include Britten’s Spring Symphony with the Cleveland orchestra under Franz Welser-Möst, Händel’s Messiah with the Toronto Symphony Orchestra with Christopher Warren-Green, and Haydn’s Die Sch

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On the international stages of opera, concert, and recital, Canadian John Tessier has garnered attention and praise for the beauty and honesty of his voice, for a refined style and creative versatility, and for his handsome, youthful presence in the lyric tenor repertoire.  The Juno Award winning artist has worked with many of the most notable conductors of our day including Lorin Maazel, Leonard Slatkin, Plácido Domingo, John Nelson, Franz Welser-Möst, Emmanuelle Haïm, Charles Dutoit, Donald Runnicles, Robert Spano, Yannick Nézet-Séguin, and Bernard Labadie.

Mr. Tessier’s 2013-2014 season sees him performing as Arturo in Boston Lyric Opera’s production of I puritani with conductor David Angus, Nadir in The Pearl Fishers with the English Nation Opera directed by Penny Woolcock, Gerald in Lakmé with L’opéra de Montréal, and as Lindoro in Rossini’s L’ Italiana in Algeri with Calgary Opera. Symphonic highlights include Britten’s Spring Symphony with the Cleveland orchestra under Franz Welser-Möst, Händel’s Messiah with the Toronto Symphony Orchestra with Christopher Warren-Green, and Haydn’s Die Schöpfung with Credo Chamber Music conducted by John Nelson.
John Tessier made a Vienna State Opera debut in the past season performing as Tonio in La fille du Régiment and he bowed for the first time at the Théâtre des Champs-Élysées as Jason in Cherubini’s Médée conducted by Christophe Rousset and directed by Krzysztof Warlikowski.  Other operatic performances featured The Magic Flute at Vancouver Opera, Fidelio with Seattle Opera conducted by Asher Fisch, and Falstaff with Calgary Opera.  Symphonic engagements included The Evangelist in Bach’s St. Matthew Passion with Iván Fischer and the Orchestra of St. Luke’s at Carnegie Hall, Carmina Burana with Marin Alsop and the Baltimore Symphony, a concert version of Der fliegende Holländer with David Robertson and the Sydney Symphony Orchestra, and Händel’s Messiah with Paul Goodwin and the Philadelphia Orchestra.


Highlights of recent opera seasons feature John Tessier in the world première of Robin de Raaff’s Waiting for Miss Monroe at the Netherlands Opera, as the Steuermann in Der fliegende Holländer under the baton of Jeffrey Tate at the Royal Opera House, Covent Garden, as Don Ottavio in Don Giovanni for his South American debut at the Teatro Colón with conductor John Neschling, as Narraboth in a concert presentation of Salome at the Verbier Festival led Valery Gergiev, and as Tamino in Die Zauberflöte for Seattle Opera.  Additional credits include Don Ramiro in La cenerentola and Ferrando in Così fan tutte at Minnesota Opera, Don Giovanni and Laërte in Hamlet conducted by Plácido Domingo at the Washington National Opera, and a new Jonathan Miller production of The Elixir of Love at both English National Opera and the New York City Opera.  Count Almaviva in Il barbiere di Siviglia has featured prominently in the tenor’s career with performances at English National Opera, New York City Opera, Edmonton Opera, Austin Lyric Opera, L’Opéra de Québec, and in a new Leon Major production at Glimmerglass Opera.

Symphonic performances of the recent past have included Rossini’s Stabat Mater and Schumann’s Scenes from Goethe’s Faust with the Cleveland Orchestra under the direction of Franz Welser-Möst, John Corigliano’s A Dylan Thomas Trilogy with Leonard Slatkin and the Nashville Symphony (recorded and commercially available on Naxos), Stephen Paulus’ To Be Certain of the Dawn with Osmo Vänskä and the Minnesota Orchestra (recorded and commercially available on BIS Records), Berlioz’ L’enfance du Christ under the baton of John Nelson in Spain, with Serge Baudo and the Orchestre National de Lyon, and with Thierry Fischer and the Utah Symphony, Britten’s Serenade for Tenor, Horn, and Strings with Carl St. Clair and the Pacific Symphony Orchestra, Beethoven’s Ninth Symphony with Paavo Järvi and the Deutsche Kammerphilharmonie Bremen and with Itzhak Perlman and the Russian National Orchestra at Festival of the Arts Boca, Haydn’s Mass in the Time of War with Bernard Labadie and the San Francisco Symphony Orchestra, Mozart’s Requiem with Donald Runnicles and the Orchestra of Saint Luke’s at Carnegie Hall, Mozart’s Mass in C with Lorin Maazel and the New York Philharmonic, Berlioz’ Te Deum under the direction of Charles Dutoit at the Philadelphia Orchestra, and Haydn’s The Creation with Jane Glover and Chicago’s Music of the Baroque and with John Nelson and Ensemble Orchestral de Paris.  He has given performances of Carmina Burana and Szymanowski’s Third Symphony with Robert Spano and the Atlanta Symphony Orchestra, Mozart’s Requiem with Donald Runnicles and the Atlanta Symphony Orchestra (recorded and commercially available on Telarc), Bach’s St. Matthew Passion with Nicholas McGegan and the Toronto Symphony Orchestra, and Messiah with the Los Angeles Philharmonic, the Philadelphia Orchestra, the San Francisco Symphony, Toronto Symphony Orchestra, and with Emmanuelle Haïm and Le Concert d'Astrée on tour in Vienna, Paris, Frankfurt, Cologne, and Milan.

Mr. Tessier recently joined the faculty of the University of Alberta  as an Assistant Professor of Voice and will begin his professorship in the 2013-2014 academic year.

Comprehensive information is available at www.johnptessier.com
 

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Reviews

"Tessier has the lyric style, and above all the range, required for the part - he cleanly hit the incredible F above high C that Bellini demands of Arturo in the final act, and elsewhere plucked other high vocal fruit with ease. And he can fence credibly, had bedroom chemistry with Coburn, and is certainly easy on the eyes - you could see why a girl would go mad for him. "

Thomas Garvey, The Hub Review

"The reunion of Coburn and Tessier (lauded for their part in BLO‘s “Barber of Seville” two seasons ago) was a stroke of genius, as they have obvious chemistry together and again prove their virtuosity, especially in Arturo’s paean to his prospective bride, “a te, o cara, amor talora”, as well as his troubadour song, “corre a valle, corre a morte”…The entire opera can be a breathtaking (almost literally) endurance contest for the singers…While they may not sustain the highest notes as long as some singers in beloved studio recordings, they impress with their passion in character. Not only is their sound lovely, but their diction is estimable; one needn’t be multilingual to appreciate the beauty of the Italian language. "

Jack Crib, South Shore Critic

"Tessier owned the coloratura, absolutely nailing Bellini’s orbiting melodic lines as they passed far up into the stratosphere, including the incredibly high line in “Credeasi, misera. "

Joseph E. Morgan, The Boston Music Intelligencer

"Tessier sang his part of an ardent lover, beset with a heavy burden of frustrations, ambiguities, and pains, with exceptional beauty of tone, as a classic lyric tenor with a substantial instrument, and fine insight into Gomez’ character as a constant, honorable nobleman, cast into ambiguity and ultimate rejection."

Michael Miller, New York Arts

"Tessier has a lovely, limpid voice that carries extremely well. With its warm timbre, he seems to float to the highest notes, as in the famous aria Ah mes amis, in which he reeled off a whopping nine high Cs, completely free of strain."

Gwenda Nemerofsky, Winnipeg Free Press

"John Tessier set the bar high with his flexible forward tenor...he handles Rossini's runs with unostentatious ease, so the demanding coloratura sounds seamlessly part of a whole. More over he sings expressively and imbues honesty..."

Angelo Mao, Boston Classical Review

"Mr. Tessier was strong in that work’s title aria and elsewhere. Bach Cantata BWV 163."

James R. Oestreich, New York Times

"Tessier’s nuances performance as the narrator was equally memorable."

Catherine Reese Newton, Salt Lake City Tribune

"Internationally renowned tenor, John Tessier, consistently projects stirring passion as he pines for his mysterious inamorata. Tessier’s duets with Constantinescu define romantic longing, as does his Act 2 aria, Si, ritrovarla io guiro."

Brad Richardson, Examiner.com

"There's touching tenderness in tenor John Tessier's solos."

Rob Hubbard, Pioneer Press

"John Tessier's glowing Ferrando…"

Larry Fuchsberg, Star Tribune

"…it’s hard to mistake the swaggering bravado tenor John Tessier lends to his portrayal of Ferrando…"

Brad Richason, Examiner.com

"John Tessier, who recently sang in Mendelssohn's Lobgesang with the Boston Symphony deployed a robust and well-controlled tenor as Almavia"

Jeremy Eichler, The Boston Globe

"Also returning is John Tessier’s Steersman, whose legato makes a jewel of his love song, glittering like the Dutchman’s treasures against the matter-of-fact Daland."

Alexandra Coghlan, The Arts Desk

"“Tessier‭’‬s voice is one of those lyric tenors with a cutting,‭ ‬thrilling vocal edge that makes it stand out immediately on stage.‭ ‬His‭ ‬Ah,‭ ‬mes‭ ‬amis,‭ ‬quel jour de fête,‭ ‬from Donizetti‭’‬s‭ ‬La Fille du Régiment,‭ ‬showed a voice that had no difficulty at all hitting the aria‭’‬s legendary nine high C‭’‬s,‭ ‬even to the point that he was able to sing the first eight‭ ‬at mezzo-forte,‭ ‬with a sense of plenty of muscle to spare. His second appearance,‭ ‬also in music by Donizetti‭ ‬– Una furtiva lagrima,‭ ‬from‭ ‬L‭’‬Elisir d‭’‬Amore‭ ‬– demonstrated that he can sing with full-blooded warmth as well,‭ ‬spinning out rich lines‭ ‬of song with apparent ease and textual sensitivity.‭ ‬The‭ ‬audience loved this performance.”"

Greg Stepanich, Palm Beach Arts Paper

"John Tessier's Steersman, for example, sang only a brief ballad, but the quality was astonishingly good."

Jon Massey, Wharf.co.uk

"But it probably wouldn't work so well without Tessier.....he sings exquisitely and has the rare ability to rouse laughter and tears simultaneously."

Tim Ashley, The Guardian