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After studies in sociology, Yann BEURON studied singing at the Conservatoire National Supérieur de Musique de Paris, with Anna Maria Bondi, and obtained unanimously first prize in 1996. In December 1995, he made his debut at the Opéra du Rhin as Belmonte in Die Entführung aus dem Serail, under the direction of William Christie. The year following, he made his debut at the Palais Garnier in Paris in a new production of Rameau’s Hippolyte et Aricie. He returned to this theatre in 2004 to sing a new production of Ravel’s L’Heure Espagnole and in 2006 to sing a new production of Gluck’s Iphigénie en Tauride. In subsequent years, his engagements rapidly increased: Cosi Fan Tutte (Bordeaux, Stuttgart), Idomeneo (Marseille), Don Giovanni (Lisbon), Il Barbiere di Siviglia and Mignon (Toulouse), Falstaff (Marseille, Festival d’Aix en Provence), La Cenerentola (Brussels, Lausanne), La Belle Hélène (Théâtre du Châtelet), Hamlet and L’Heure Espagnole (Royal Opera House, Covent Garden), Dialogues des Carmélites (Theater an der Wien). In 2003, Yann Beuron made his debut in the United States with the

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After studies in sociology, Yann BEURON studied singing at the Conservatoire National Supérieur de Musique de Paris, with Anna Maria Bondi, and obtained unanimously first prize in 1996. In December 1995, he made his debut at the Opéra du Rhin as Belmonte in Die Entführung aus dem Serail, under the direction of William Christie.

The year following, he made his debut at the Palais Garnier in Paris in a new production of Rameau’s Hippolyte et Aricie. He returned to this theatre in 2004 to sing a new production of Ravel’s L’Heure Espagnole and in 2006 to sing a new production of Gluck’s Iphigénie en Tauride.

In subsequent years, his engagements rapidly increased: Cosi Fan Tutte (Bordeaux, Stuttgart), Idomeneo (Marseille), Don Giovanni (Lisbon), Il Barbiere di Siviglia and Mignon (Toulouse), Falstaff (Marseille, Festival d’Aix en Provence), La Cenerentola (Brussels, Lausanne), La Belle Hélène (Théâtre du Châtelet), Hamlet and L’Heure Espagnole (Royal Opera House, Covent Garden), Dialogues des Carmélites (Theater an der Wien). In 2003, Yann Beuron made his debut in the United States with the San Francisco Opera (Barbiere).

In recent seasons, Mr. Beuron returned to the Paris Opera (Yvonne, Princesse de Bourgogne) and to the Aix Festival (Idomeneo). He also made his debut at the Mozart Festwochen in Salzburg (Idomeneo), at the Teatro Real in Madrid (Iphigénie, Pelléas et Mélisande and La Clemenza di Tito) and at the Netherlands Opera in Amsterdam (Iphigénie).

A frequent guest soloist on the concert podium, he has performed with the Orchestre du Capitole de Toulouse, the Orchestre de Bordeaux-Aquitaine, the Ensemble Orchestral de Paris, the Orchestre Philharmonique de Radio France, the Rotterdam Philharmonic and the Swedish Radio Symphony Orchestra.

Mr. Beuron has recorded for DGG-Archive, EMI France, Virgin Classics, Erato and Philips Classics. His recent recordings include the third part of Fauré’s complete series (for Timpani) and L’Enfance du Christ under Sylvain Cambreling (for Glor Classics).

In the upcoming season, Mr. Beuron will be performing at the Bayerische Staatsoper in Munich (Dialogues des Carmélites), the Theatre Royal de la Monnaie (Pelléas) and the Paris Opera (Alceste).

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Reviews

"Yann Beuron, with his appealing timbre and lyricism, definitely made his mark as Le Chevalier de la Force. "

Moore Parker, The Opera Crtic

"The tenor Yann Beuron was a gentle, lyrical Pelléas."

Victoria Stapells, Opera

"Chevalier toujours élégant et fougueux de Yann Beuron.
[Yann Beuron’s Chevalier is always elegant and spirited.]"

Dominique Adrian, ResMusica

"Le rôle de Tito n’est pas le plus gratifiant de cet opéra, il est trop bon, trop clément, il ne lute que contre lui-même. Cela ne donne pas une ligne remarquable, et malgré cela Yann Beuron fait une véritable création de ténor lyrique dont les éclats et, surtout, la facture de ses diminuendi et de ses « sons filés » sont une merveille.
[Tito is not the most rewarding role in this opera, as he is too good, too lenient and he only fights against himself. Despite it not being very promissing, Yann Beuron makes a true lyrical tenor creation. The brightness of his tenor voice and the use of diminuendi and suspended notes are marvellous.]"

Santiago Martin Bermudez, ConcertoNet

"Fauré’s mélodies are among the finest in the European treasury of songs but they are not easy to bring to life. Panzera, Bernac and Souzay were steeped in the tradition but Yann Beuron seems predestined to be their heir. His singing is as many-faceted and varied as any of his predecessors and the songs are real gems that should be heard by all lovers of art-songs."

Michael Greenhalgh, Music Web International

"Nous savions ce que nous pouvions attendre du Pylade Yann Beuron, déjà parfait en 2006 : le revoici tel qu’en lui-même, magnifique dans ce rôle meurtrier pour l’aigu et le passage, à peine moins souple d’émission depuis que la voix s’est corsée, incarnant lui aussi avec éclat le grand style français.
[We knew what to expect from Yann Beuron’s Pylade, as he was already perfect in 2006. He reappears as if playing himself, magnificent in a role that is extremely difficult in its high notes and nonchord notes. His delivery is barely less flexible since his voice became fuller-bodied, splendidly incarnating the great French style.]"

Didier van Moere, ConcertoNet

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Discography