Vocalist - Tenor
Elmer Gantry - Florentine Opera - 3/21/10
"Vale Rideout's honeyed tenor limned Frank Shallard's vocal journey gracefully..."
Mark Thomas Ketterson, Opera News
The Turn of the Screw
"Taking the traditionally doubled roles of Prologue and the malignant Quint, tenor Vale Rideout floated his florid vocal lines like the temptations they were."
Kalen Ratzlaff, Opera News
Cavalli Finally Comes to Chicago
"There wasn't a weak link in the cast. Vale Rideout's Egeo ... offered a similarly fine mix of strong singing and deft acting."
Wynne Delacoma, Musical America
Name's Bond. Jason Bond, circa 1649.
"Also making rock-solid contributions to the show's success are tenor Vale Rideout as Egeo."

John von Rhein, Chicago Tribune
The Florentine's Elmer Gantry
"Tenor Vale Rideout, as Gantry's pal Frank Shallard, got the best number of the night, and he made it count. Rideout plays a mainstream preacher who is losing faith. His big aria expresses the anguish attached to his doubt. I loved the way Rideout phrased and the way Aldridge composed the piece to make the melody advance as through a maze."
Tom Strini, Third Coast Digest
Some stand and cheer, some leave 'Gantry' premiere
"The opera's finest moments include: a soul-piercing crisis-of-faith aria given a searing delivery by Vale Rideout as Frank Shallard; Heather Buck's soaring soprano take on Lulu Baines; and a particularly memorable scene in the burning tabernacle."
Elaine Schmidt, Milwaukee Journal Sentinel
Palm Beach Opera's 'Giovanni' fresh, visually striking
"Donna Anna's suitor, Don Ottavio, tenor Vale Rideout, showed a lyric tenor that could also rise to a more dramatic level. His 'Il mio tesoro' was excellent, displaying some heroic breath control in the cadenzas of the vengeful aria. His lyrical 'Dalla sua pace' was most affecting."
R. Spencer Butler, Palm Beach Daily News
PB Opera's bold, radical 'Giovanni' stumbles without statue
"Vale Rideout was a fine Don Ottavio, making the most of his creamy tenor to offer compelling versions of Dalla sua pace and Il mio tesoro."
Greg Stepanich, Palm Beach ArtsPaper
Inspired cast and creative staging put a new gloss on an old villain
"As the ineffectual Don Ottavio, who leads the group trying to bring down Don Giovanni, the tenor Vale Rideout was stiff, upright and faintly irritating, as is appropriate for the man who represents everything Don Giovanni is not. His duet with Donna Anna, as they swear to avenge her father's death, was an exciting and high-energy moment."
David Fleshler, South Florida Classical Review
Evocative Setting for Ghostly Turn: BLO at the Castle
"Rideout, in the role of the ghost Peter Quint, was equally mesmerizing ... vocally with a seductiveness that was both eerie and forceful, allowing him to make the most of the mono-dimensional yet disturbingly enticing character."
Tom Schnauber, Boston Musical Intelligencer
BLO leaves home with Britten's 'Turn of the Screw'
"Vale Rideout was persuasively sinister as Peter Quint, yet his tenor was also sweet enough to convey his character's seductive power."
Jeremy Eichler, Boston Globe
The Turn of the Screw
"As the ghostly couple, Vale Rideout and Rebecca Nash were both well-suited to their roles, and sang most expressively."
Ed Tapper, Edge Boston
The Fall of the House of Usher, Nashville Opera, 11/14/09
"Vale Rideout's lissome tenor limned Roderick's high-lying vocal line very attractively."
Mark Thomas Ketterson, Opera News
Two by Philip Glass
"The excellent singers were baritone Lee Gregory as the clueless William, tenor Vale Rideout as the disturbed Roderick."
Heidi Waleson, Wall Street Journal
'Fall of the House of Usher' at Nashville Opera
"Vale Rideout's achingly clear tenor perfectly captures Roderick's growing madness and the intensity of his grief."
Jeffrey Ellis, broadwayworld.com
Nashville Opera's 'Usher' does Poe proud
"Videos, drawings and stills of an often-macabre nature are displayed on the scrim and screen to convey the chaos of thoughts in a feverish mind. That feverish mind belongs to William (baritone Lee Gregory), who has been summoned to the house of his childhood friend Roderick Usher (tenor Vale Rideout). Gregory [and] Rideout ... have beautiful voices. But it's not enough to say they're good singers, because their acting is good as well."
Evans Donnell, The Tennessean
Director brings theatrical flair to pro debut
"The tenor Vale Rideout's performance as Alfredo grows palpably in strength and nuance, both vocally and dramatically, from act to act."
Kevin Bazzana, Times Colonist (Victoria, B.C.)
Lucia di Lammermoor (7/10/09), Central City Opera
"Looking the Romantic Byronic loner to perfection, [Vale Rideout as Edgardo] acted ardently and was highly affecting in the final scene. A sensitive musician, he projected the text with superb clarity."
David Shengold, Opera News
War Requiem, New York Philharmonic, 6/11/09
"Rideout caught the angry agitation needed for his first recitative ('What passing bells for those who die as cattle?'), then joined Greenlaw in the guarded nonchalance of military bonhomie, followed by a tense description of how, in the grip of war, even the pious Biblical Abraham might have ignored divine intervention and slain his son Isaac. Their final scene - for Britten, the crux of the work, in which two dead enemy soldiers, meeting in a dim afterlife, recognize each other as comrades - found both soloists sensitive and expressive ..."
John W. Freeman, Opera News
Central City Cintillates
"I loved the vocal and theatrical approach taken by tenor Vale Rideout."
David Sckolnik, Colorado Springs Gazette
Snowmass Cynic's Sanctum: A Dream of a Different Lucia di Lammermoor
"Rideout fits his role well, particularly his sweet voice."
Robert Weller, Snowmass Sun
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Mad about her: Central City's spellbinding "Lucia"

"Deserving particular kudos is tenor Vale Rideout, a former Central City apprentice who is back for his third summer with the company as a professional. He is making his debut in the role of Edgardo, Lucia's lover from a rival clan, and he could hardly be better suited to the role.

"He has the dashing looks and fiery intensity this character demands, as a well as the appropriate vocal weight and agility. Expect other companies to be eager to engage Rideout for this part."

Kyle MacMillan, Denver Post
CCO stages luminous 'Lucia'
"Vale Ri­deout is the image of passion­ate suffering as Edgardo."
Wes Blomster, Boulder Daily Camera
Lorin Maazel led the New York Philharmonic in Britten's "War Requiem" at Avery Fisher Hall on Thursday night.
Britten's Pacifist Work Shaped as a Clear Declaration
"The relatively modest episodes were the most successful here, largely because of the fine and moving work of the baritone, Ian Greenlaw, and especially the tenor, Vale Rideout. ... They were superbly expressive and balanced in the duet ‘So Abram rose,' backed by equally fine instrumental work."

James R. Oestrich, New York Times
L'Isola Disabitata, Gotham Chamber Opera, 2/18/09
"Tenor Vale Rideout was a passionate Gernando, singing with bright, forward thrust and a fine messa di voce."
Joanne Sydney Lessner, Opera News
Vale Rideout and Rachel Watkins rehearse a scene from Faust. They portray lead characters Faust and Marguerite.
"In 2006, Opera Tampa had a triumph with Gounod's Romeo et Juliette, with the youthful pair of Vale Rideout and Rachel Watkins as the star-crossed teenagers. So why not cast the two in the French composer's other big opera, Faust?" Read More...
John Fleming, St. Petersburg Times
Gotham Chamber Opera Presents L'Isola Disabitata
"Vale Rideout was a fine Gernando, his excellent tenor negotiating the vocal roulades and sentiments with resonance and aplomb while his acting skills showed the necessary patience and resignation. He was amusing while peering through his telescope and his performance was most ingratiating."
Nino Pantano, Brooklyn Daily Eagle
Takesha Mesh&eacute; Kizart, Vale Rideout, Valerie Ogbonnaya, Tom Corbeil<br />
"L'Isola Disabitata," Haydn's Just Desserts
"Vale Rideout's Gernando conveys the right mixture of grief, everlasting love, disbelief when he reads the inscription that occupies the island, and joyful satisfaction when reunited with his living and loving Costanza."
Sherri Rase, QOnStage.com
"As Gernando, Vale Rideout shapes the tenor arias with charm and grace ..."
Peter G. Davis, Musical America
Vale Rideout, right, and Tom Corbeil
L'isola disabitata
"Vale Rideout savoured bel canto finesse as the long-lost tenor hero."
Martin Bernheimer, Financial Times
Total: 76 (Viewing: 31–60)