Vickers became world-famous for a wide range of German, French, and Italian roles, but especially in the Wagner tenor roles in Die Walkure, Tristan und Isolde, Parsifal and in Beethoven's Fidelio. He was the foremost Wagner tenor of his era.
Born in Prince Albert, Saskatchewan, Vickers was the sixth in a family of eight children. In 1950, he was awarded a scholarship to study opera at The Royal Conservatory of Music in Toronto.
Vickers was born into the musical family of William, a teacher and school principal, and Myrle (née Mossop). As a youth he sang in his father's church, and his initial intention was to study medicine. He worked on a neighbour's farm and acquired the muscular stature that characterized him. During a semi-professional production his leading lady made a recording of his voice and sent it to The Royal Conservatory of Music in Toronto. He auditioned there with Every Valley Shall be Exalted from Handel's Messiah and was offered a scholarship.
Vickers gained major international recognition in both the U.S. and the UK in the role of Giasone in Luigi Cherubini's Medea, with Maria Callas in the title role, at both Dallas Civic Opera in November 1958 and the following season at Covent Garden in June 1959. This was a joint co-production between Dallas and Covent Garden. Vickers and Callas both emphasized dramatic skills as well as singing ability, and they worked well together, Vickers stating that “when we finished the big love duet, she flew across the stage and put her arms around me and said, 'At last, a tenor who can act!'” The same production was staged at La Scala in Milan in 1961-1962, again with Callas and Vickers heading the cast.
He debuted at the Bayreuth Festival in 1958 as Siegmund in Die Walküre and sang Parsifal there in 1964, both presentations conducted by legendary Wagner conductor Hans Knappertsbusch. Later negotiations with Wieland Wagner concerning potential appearances as Siegfried in Götterdämmerung ceased on Wieland's death in 1966.
Vickers' debut role at the Metropolitan Opera in 1960 was Canio in Pagliacci. He would appear at the Met over a period of 27 years in 280 performances of 17 roles, including Florestan in Fidelio, Siegmund in Die Walküre, Don José in Bizet's Carmen, Radamès in Aida, Erik in Wagner's Der fliegende Holländer, Herman in Tchaikovsky's Queen of Spades, Samson in both Handel's oratorio and Saint-Saëns' Samson et Dalila, the title role of Verdi's Otello, Don Alvaro in Verdi's La forza del destino, Peter Grimes, Tristan und Isolde, Laca in Janáček's Jenůfa, Vasek in Smetana's The Bartered Bride, and the title role in Wagner's Parsifal, giving his farewell in 1987.
Although scheduled to sing Tannhäuser at Covent Garden in the late 1970s, Vickers dropped out, claiming that he could not empathize with the character and that the opera itself was blasphemous. He sang Nerone in Monteverdi's L'incoronazione di Poppea at the Paris Opéra. His repertoire also included the title role in Giordano's Andrea Chenier, Herod in Strauss's Salome, and Pollione in Bellini's Norma.
Vickers became one of Karajan's favourite singers at the Salzburg Easter and Summer Festivals, performing there in Der Ring des Nibelungen, Carmen, Otello, Fidelio and Tristan und Isolde. He sang as well in the major opera houses of Chicago, San Francisco and Vienna. He retired in 1988.
Recordings
Among Vickers's celebrated recordings are the 1962 Fidelio conducted by Otto Klemperer with the Philharmonia Orchestra and the 1971 version with the Berlin Philharmonic under Karajan.. His studio recordings of Wagner roles are Die Walküre in 1961 with conductor Erich Leinsdorf and the London Symphony Orchestra and in 1966 with Karajan and the Berlin Philharmonic, and Tristan und Isolde in 1971-1972, again with Karajan and the Berlin Philharmonic. Vickers' most critically acclaimed extant performance of Parsifal is from the Bayreuth Festival in 1964 under Knappertsbusch, which was the great conductor's final performance.
His recording of Énée in Les Troyens with Sir Colin Davis conducting the Royal Opera House Orchestra in 1969 was highly regarded. Also, there was a legendary and controversial 1959 recording of Messiah with Sir Thomas Beecham. Vickers' later albums included highly acclaimed renditions of Peter Grimes conducted by Sir Colin Davis with the orchestra of the Royal Opera House, Covent Garden and of Otello conducted by Karajan with the Berlin Philharmonic.
Vocal style
Vickers' huge, powerful voice and solid technique met the demands of many German, French and Italian roles. He was also highly regarded for his powerful stage presence and thoughtful characterizations. (Conversely, he was sometimes incorrectly criticized for "scooping"—beginning a note below pitch and then sliding up to the correct pitch—and for "crooning".) While his soft singing was often dismissed by critics as “crooning” or falsetto, it was actually an enveloping, fully supported sound, seeming to come from all around the theater.
Personal life and death
Vickers was too young to serve in World War II, although two older brothers experienced heavy action in the conflict, one becoming a prisoner of war. Vickers was always strongly anti-Hitler in his statements and judgments, including the role of Wagner's philosophy in influencing the Nazis.
During the Bayreuth Festival of 1964, when Vickers was billeted at a local house, he was offended by some favourable remarks made by the house owner about the period under Nazi rule. Vickers declined further roles at the Bayreuth Festival.
Vickers was a dedicated, outspoken Protestant; one writer referred to him as "God's tenor" for this reason.
In 1953 he married Henrietta Outerbridge. They had five children. After her death in 1991, he married Judith Stewart.
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