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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 David Robertson, Leonard Slatkin, Plácido Domingo, John Nelson, Franz Welser-Möst, Emmanuelle Haïm, Charles Dutoit, Donald Runnicles, Robert Spano, Yannick Nézet-Séguin, and Bernard Labadie. In the 2016-17 operatic season, Mr. Tessier returns for the third consecutive year to the stage of the Wiener Staatsoper and presents the role of Tonio in Laurent Pelly’s acclaimed production of La fille du Régiment.   In Canada, he assays the title role of Massenet’s Werther in a new production at Manitoba Opera and sings Don Ramiro in a revival of La cenerentola for Edmonton Opera.  His concert performances include Bernstein’s A Quiet Place with Kent Nagano and the Montreal Symphony Orchestra, Mendelssohn’s Elijah both with the Winnipeg Symphony Orchestra and the Charlotte

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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 David Robertson, Leonard Slatkin, Plácido Domingo, John Nelson, Franz Welser-Möst, Emmanuelle Haïm, Charles Dutoit, Donald Runnicles, Robert Spano, Yannick Nézet-Séguin, and Bernard Labadie.

In the 2016-17 operatic season, Mr. Tessier returns for the third consecutive year to the stage of the Wiener Staatsoper and presents the role of Tonio in Laurent Pelly’s acclaimed production of La fille du Régiment.   In Canada, he assays the title role of Massenet’s Werther in a new production at Manitoba Opera and sings Don Ramiro in a revival of La cenerentola for Edmonton Opera.  His concert performances include Bernstein’s A Quiet Place with Kent Nagano and the Montreal Symphony Orchestra, Mendelssohn’s Elijah both with the Winnipeg Symphony Orchestra and the Charlotte Symphony, the Mozart Requiem with Rune Bergmann and the Szczecin Philharmonic, as well as the 37th annual CBC Christmas Sing-In, which is heard by more than one million listeners across Canada on CBC Radio One and CBC Radio Two.

Highlights of recent opera seasons feature Bellini’s I Puritani conducted by Marco Armiliato and Count Almaviva in Rossini’s Il barbiere di Siviglia, both at the Wiener Staatsoper, Cherubini’s Médée at the Théâtre des Champs-Élysées conducted by Christophe Rousset, and La cenerentola for New Zealand Opera.  He has given the world première of Robin de Raaff’s Waiting for Miss Monroe at the Netherlands Opera, and has sung Der fliegende Holländer under the baton of Jeffrey Tate at the Royal Opera House, Covent Garden, Don Giovanni for a South American debut at the Teatro Colón with conductor John Neschling, and The Pearl Fishers with the English National Opera.  Further operatic credits include Salome at the Verbier Festival led Valery Gergiev, La cenerentola and Così fan tutte at Minnesota Opera, Don Giovanni and Hamlet at Washington National Opera, Lakmé with L’Opéra de Montréal, 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 engagements include Evangelist in Bach’s St. Matthew Passion with Iván Fischer and the Orchestra of St. Luke’s at Carnegie Hall, Rossini’s Stabat Mater and Schumann’s Scenes from Goethe’s Faust with the Cleveland Orchestra under the direction of Franz Welser-Möst, and Carmina Burana with Marin Alsop and the Baltimore Symphony.  Other concert appearances feature Beethoven’s Ninth Symphony with Paavo Järvi and the Deutsche Kammerphilharmonie Bremen, Haydn’s Mass in the Time of War with Bernard Labadie and the San Francisco Symphony Orchestra, Berlioz’ Te Deum under the direction of Charles Dutoit at the Philadelphia Orchestra, and Haydn’s The Creation with John Nelson and Ensemble Orchestral de Paris.  He has sung 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 Händel’s Messiah with the Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Toronto Symphony Orchestra, and with Emmanuelle Haïm and Le Concert d'Astrée on tour in Vienna, Paris, Frankfurt, Cologne, and Milan.

 

Sept 2016



 

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Reviews

"Fellow Canadian John Tessier’s high, almost haute-contre tenor is ideal for Nadir’s Act 1 romance – combining an easy legato with a finely modulated voix mixte, this was by far the best performance I’ve heard of this killer aria. Tessier shows a strong command of the style, and his crystalline French was the finest in the cast. Additionally, his impetuous physicality also lent a nice degree of realism to the role. "

Kevin W. Ng, Bachtrack

"Tessier’s lyrical, soaring tenor was an excellent match for the delicacy and purity of McKay’s Leila"

Melinda Bargreen, Seattle Times

"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