Vocalist - Tenor
Das Rheingold - North Carolina Opera

"Tenor Vale Rideout performed the role of Mime with great vocal and physical artistry with equal measure ..."

Dustin K. Britt, Triangle Arts & Entertainment
Julian Wachner Celebrates Ginastera’s Centennial

"Four excellent vocal soloists — the soprano Sarah Brailey, the mezzo-soprano Melissa Attebury, the tenor Vale Rideout and the bass-baritone Dashon Burton — sat in the first pew of the church until their moment came in the last movement, when they rose to face the audience, seated right before them, and sang splendidly. I have seldom been so swept away by the 'Ode to Joy' choral finale. At the end, the ovation was tremendous."

Anthony Tommasini, New York Times
Choral Colors

"Tenor Vale Rideout has a bright Italian sound, combined with enough heldentenor overtones, to match the other three singers."

Gregory Sullivan Isaacs, Theater Jones
Classical music: an accomplished Beethoven ‘Missa solemnis’

"Vale Rideout’s tenor aptly balanced lyricism and heft."

Scott Cantrell, Dallas Morning News
QCSO and friends make special magic with peace, joy

“Vocal soloists (… tenor Vale Rideout …) were outstanding, with theatrical flair.”

Jonathan Turner, Quad Cities Dispatch-Argus
Mendelssohn’s “THE CONVERSION OF SAINT PAUL” – NYC Choral Society at Carnegie Hall

“Tenor Vale Rideout, sensitively voiced and well-acted, reincarnates in several roles – acting as Saul’s counterpart in the martyred Stephen, healer Ananias, and companion Titus.”

Emily Snyder, Jewish Week
Florentine Opera delivers involving 'Wuthering Heights' concert

“Tenor Vale Rideout used vocal power and musical subtlety to create a sympathetic Edgar Linton.”

Elaine Schmidt, Journal Sentinel
Wachner, Washington Chorus give powerful performance of ungainly 'Missa Solemnis'

“Rideout is clearly doing something right … he sang his way into the piece and delivered his best work in the final movement.”

Anne Midgette, Washington Post
Kentucky Opera's polished and romantic Romeo et Juliette
“Vale Rideout as Romeo skillfully showed the inner conflict between loyalty to the Montagues and his dread of doing anything to harm his new bride…. [In] the later duets between Romeo and Juliette … the pair seemed better matched in every way, Pine’s trilling soprano and Rideout’s fine tenor blending perfectly.”
Selena Frye, Louisville Courier-Journal
RPO concert a triumph of moods
“Tenor Vale Rideout’s contribution to the piece was welcome.... Rideout’s verismo-worthy tone rang exuberantly into the hall.”
Daniel J. Kushner, Rochester Democrat & Chronicle
RPO's Beethoven's Ninth
“Four soloists were featured [including] Vale Rideout, tenor.... Each one deserved the audience's applause, and I would welcome an opportunity hear each one in a solo recital so that I could sit back and enjoy the clear, warm sounds of each voice.”
Paloma Capanna, Rochester City Newspaper
'La Traviata' at the Hult Center

“Vale Rideout makes an excellent partner for [Violetta]. His voice is mellifluous; he conveys caring and concern for his vis-a-vis.”

Diana Barth, Epoch Times
The Washington Chorus' large-scale 'War Requiem' concert left audience frozen with emotion

“An absolutely transcendent moment was the mini-scene created by tenor Vale Rideout and baritone Christopher Burchett immediately following the choral rendering of the ‘Libera Me.’ A moving ‘song conversation’ between the soloists was like listening to two soldiers lament over the perils of war, love and ultimately death. The warmth of Rideout’s tenor in musical dialogue with Burchett’s fervent baritone created a scene that could have paused before the listener as if were on a screen.”

Patrick D. McCoy, Washington Life Magazine
“Tenor Vale Rideout struck just the right feel as the Stage Manager, who is alternately a narrator, commentator and intercessor in the action.”
Kyle MacMillan, Opera News
A Seductive Dance of Horn and Voice
“In the Serenade the principals were the luminous tenor Vale Rideout and the horn player Danielle Kuhlmann, who played the French horn with a smooth, firm tone. … The sound of Ms. Kuhlmann’s horn blended beautifully with Mr. Rideout’s voice, which has remarkable purity in the high range and is able to maintain a sleek polish across the dynamic range. With his excellent diction and natural, smooth-flowing delivery light on vibrato, he was an ideal match for Britten.”
Corinna Da Fonseca-Wollheim, New York Times
Central City Opera's 'Our Town' emotional, understated
“Tenor Vale Rideout, who played the role of George Gibbs in the opera’s 2006 premiere, takes on the iconic Stage Manager in the Central City cast. Wearing a headset and modern clothing, Rideout emphasizes the main purpose of the character--to break the fourth wall. But the stage manager also takes an active part in the story, interacting with characters who themselves break the wall, taking on side roles such as the minister at a wedding, and guiding young Emily Webb’s entry into the afterlife in the third act. Rideout's voice is smooth and comforting, and is allowed to soar in those final scenes.”
Kelly Dean Hansen, Boulder Daily Camera
Nashville opera closes season with fanciful 'Magic Flute'
“Tenor Vale Rideout is appropriately dashing and heroic as Tamino.”
Amy Stumpfl, The Tennessean
RIO DE SANGRE - Florentine Opera/Milwaukee Symphony (CD review, Albany Records)
“As Igneo, a young political colleague of Delacruz, the clarion-voiced Vale Rideout is soaring and impassioned, especially when he asks the president for his daughter’s hand in marriage.”
Joshua Rosenblum, Opera News
Hawaii Opera Theatre brings the best out of 'Pearl Fishers'
"The cast members, most in their HOT debuts, were uniformly strong, their timbres and styles capturing their roles.... Tenor Vale Rideout (Nadir) had the tonal brilliance and power to steal the girl and the spotlight. Rideout was especially noteworthy."
Ruth Bingham, Honolulu Star-Advertiser
Review: Elmer Gantry
"Vale Rideout brings warmth to Gantry's friend Frank, who has one of the work's most touching arias."
Ronni Reich, New Jersey Star-Ledger
John Musto's The Inspector - Wolf Trap Opera
"With his warm tone and smooth technique, Vale Rideout proved to be quite an elegant phrase-spinner as Tancredi; he revealed a knack for comic acting as well."
Tim Smith, Opera News
Dallas Symphony's concert at Carnegie Hall captures era of civil rights and Vietnam War
"Vale Rideout, tenor ... sang with clear intent and ringing emotion."
David Stabler, Oregonian
When Words Got in the Way
"Vale Rideout was a suitably bemused Tancredi, and William Sharp was sharp-edged as Cosimo."
Heidi Waleson, Wall Street Journal
Wolf Trap premieres Gogol-inspired opera
"Tenor Vale Rideout looks the part of the handsome hero and sings with feeling ... "
Mike Silverman, Associated Press
Wolf Trap's 'Inspector' sparkles in gala debut
"Tenor Vale Rideout was a dashing Tancredi, the desperate fugitive who's transformed into an honored 'inspector' allegedly sent by Mussolini, ironically the very thug our anti-hero is fleeing from. Mr. Rideout deftly transforms his voice from thin and frightened to self-confident and arrogant, embodying the essence of this opera where so many people are desperately trying to be someone other than who they really are."
Terry Ponick, Washington Times
The Switchboard and Castleton Music Festivals
"Vale Rideout (the male chorus, who has appeared with SF Opera in Die Fledermaus a couple years back) stood out with his cool demeanor and bright tenor."
Cedric Chou, SFist
'Rape of Lucretia,' Castleton Opera review
"Tenor Vale Rideout stole the show, perhaps, in a bravura performance as the Male Chorus."
Joshua Kosman, San Francisco Chronicle
Rio de Sangre: Florentine Opera
"The standouts were Ava Pine and Vale Rideout as Blanca and Igneo, the young lovers; their radiant singing and beguiling characterizations left a deep and lasting impression."
Gregory Berg, Opera News
Magic Flute, Phoenix
"As Tamino, tenor Vale Rideout sang with a rich sound that soared over the orchestra. He is a good actor, too, and he energized his text with conviction."
Maria Nockin, Opera Today
Review: "Rio de Sangre"
"Vale Rideout as Igneo displayed a vibrant tenor and assured stage presence."
Lawrence A. Johnson, Classical Review
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