John Tessier, whose self-effacing comedy may be recalled from his Prince in La cenerentola, remains an eager, open-voiced delight. Every floated note, High C or otherwise, presents a cushioned platform onto which he softly and deftly parachutes..
New Zealand Theatreview, Michael Hooper
There is something very special about his tenor voice: there is a colour, a kind of tiny musical accent, to his sound that is entirely his. Jon Vickers and Jussi Björling had something similar, with the result that their voices are instantly recognizable. His tenor is also attractively lyrical, and his performance here was a pleasure to listen to, both in terms of interpreting the piece, and for the sheer pleasure of listening to lovely singing.
Edmonton Classical Music, Mark Morris
Internationally renowned for his soaring tenor voice, Edmonton-born John Tessier in the title role can only be described as a Canadian treasure. His showstoppers: Lorsque l’enfant revient d’un voyage, in which Werther first contemplates suicide, and later, goose- bump inducing delivery of Pourquoi me reveiller elicited well-deserved, spontaneous applause with cries of bravo for the charismatic singer.
Winnipeg Free Press, Holly Harris
On the international stages of opera, concert, and recital, Canadian John Tessier garners praise and attention for the beauty and honesty of his voice, for a refined style and creative versatility, and for his handsome presence in the lyric tenor repertoire.
In the 2018-19 operatic season, John Tessier returns to New Zealand Opera to reprise his internationally acclaimed portrayal of Conte Almaviva in Il barbiere di Sivigia; North American operatic engagements include The Merry Widow at Vancouver Opera and Rossini’s comic masterpiece Le comte Ory with Edmonton Opera. On the concert stage, the tenor is heard in performances of Mozart’s Requiem with Hervé Niquet leading the Montreal Symphony Orchestra and in Handel’s Messiah with Georg Petrou conducting the National Arts Centre Orchestra.
Last season, John Tessier returned for a fourth consecutive year to the stage of the Wiener Staatsoper and reprised the role of Tonio in Laurent Pelly’s acclaimed production of La fille du Régiment. He also joined Calgary Opera for Il barbiere di Siviglia, Edmonton Opera as Don Ottavio in Don Giovanni, and made a debut with the Indianapolis Symphony Orchestra as Tamino in fully-staged performances of Mozart’s Die Zauberflöte led by Krzysztof Urbański. On the concert stage appearances included Messiah with the Colorado Symphony and Beethoven’s Ninth Symphony, both with Rune Bergmann and the Calgary Philharmonic and with the National Arts Centre Orchestra conducted by Alexander Shelly.Read More
Highlights of past opera seasons include productions of Il barbiere di Siviglia and Bellini’s I Puritani at the Wiener Staatsoper, Cherubini’s Médée at the Théâtre des Champs-Élysées conducted by Christophe Rousset in a new production by Krzysztof Warlikowski, both Les pêcheurs de perles and Maria Stuarda led by Carlo Montanaro at Seattle Opera, a new Jonathan Miller production of The Elixir of Love at English National Opera and the New York City Opera, and a role debut as Massenet’s Werther in a new production for Manitoba Opera. John Tessier gave 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, and Don Giovanni for a South American debut at the Teatro Colón conducted by John Neschling.
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, Mendelssohn’s Elijah both with the Winnipeg Symphony Orchestra and the Charlotte Symphony, 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, Bernstein’s A Quiet Place with Kent Nagano and the Montreal Symphony Orchestra, Haydn’s Mass in the Time of War with Bernard Labadie and the San Francisco Symphony Orchestra, and Berlioz’ Te Deum under the direction of Charles Dutoit at the Philadelphia Orchestra. He has sung Handel’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 and has recorded Mozart’s Requiem both with Donald Runnicles and the Atlanta Symphony Orchestra and with Bernard Labadie and Les Violons du Roy.
Bill Palant, Étude Arts
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