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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 2015-16 operatic season, Mr. Tessier appears in two productions at Seattle Opera: he bows as Nadir in Les pêcheurs de perles and as Leicester in Maria Stuarda.  Other operatic engagements feature a return to Boston Lyric Opera as Camille in The Merry Widow.  On the concert stage, highlights include the Mozart Requiem with Jaap van Zweden and the Dallas Symphony Orchestra, Händel’s Messiah with Robert Porco and the Cleveland Orchestra, and Sir Paul McCartney’s Liverpool Oratorio with Ty Patterson conducting the Ottawa Singers. The past season included the tenor’s highly anticipated

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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 2015-16 operatic season, Mr. Tessier appears in two productions at Seattle Opera: he bows as Nadir in Les pêcheurs de perles and as Leicester in Maria Stuarda.  Other operatic engagements feature a return to Boston Lyric Opera as Camille in The Merry Widow.  On the concert stage, highlights include the Mozart Requiem with Jaap van Zweden and the Dallas Symphony Orchestra, Händel’s Messiah with Robert Porco and the Cleveland Orchestra, and Sir Paul McCartney’s Liverpool Oratorio with Ty Patterson conducting the Ottawa Singers.


The past season included the tenor’s highly anticipated return to the Vienna State Opera House both as Arturo in Bellini’s I Puritani conducted by Marco Armiliato and as Count Almaviva in Rossini’s Il barbiere di Siviglia.  He bowed in the title role of Rameau’s Castor et Pollux at Theatre des Champs-Elysees and as Don Ramiro in the New Zealand Opera’s production of La cenerentola.  On the concert stage, Mr. Tessier was heard in Mozart’s Mass in c minor with the Toronto Symphony Orchestra, Bach’s St. John Passion with Soli Deo Gloria, and as the Shepherd in Tristan und Isolde with the Sydney Symphony.


Highlights of recent opera seasons feature the world première of Robin de Raaff’s Waiting for Miss Monroe at the Netherlands Opera, Tonio in La fille du Régiment at the Vienna State Opera, Jason in Cherubini’s Médée at the Théâtre des Champs-Élysées conducted by Christophe Rousset and directed by Krzysztof Warlikowski, 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 a South American debut at the Teatro Colón with conductor John Neschling.  Further operatic credits include Salome at the Verbier Festival led Valery Gergiev, Die Zauberflöte for Seattle Opera, La cenerentola and Così fan tutte at Minnesota Opera, Don Giovanni and Hamlet at Washington National Opera, The Pearl Fishers with the English 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, 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 John Nelson and Ensemble Orchestral de Paris.  John Tessier 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 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.

 

September 2015

 

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