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.
In the 2014-2015 operatic season, Mr. Tessier can be seen in his highly anticipated return to the Vienna State Opera House as Arturo in Bellini’s I Puritani conducted by Marco Armiliato and as Count Almaviva in Rossini’s Il barbiere di Siviglia. Mr. Tessier continues his season 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, Tessier can be seen performing Mozart’s Mass in C Minor with the Toronto Symphony Orchestra and Bach’s St. John Passion with Soli deo Gloria.
The 2013-2014 season saw Mr. Tessier 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 included 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 to the faculty of Alberta University as an Assistant Professor of Voice and will begin his professorship in the 2013-2014 academic year.