Fleur Barron

Mezzo-soprano

Biography

Hailed as a “charismatic star” by the Boston Globe and as “a knockout performer” by The Times, British-Singaporean mezzo-soprano Fleur Barron is a 2018 HSBC Laureate of the Festival d’Aix-en-Provence and the recipient of the 2016 Grace B. Jackson Prize from the Tanglewood Music Festival, awarded to one outstanding young singer each year. A passionate interpreter of chamber music, concert works, and opera ranging from the baroque to the contemporary, Ms. Barron is mentored by Barbara Hannigan.

In the 2021-2022 season, Ms. Barron has house debuts at Arizona Opera as the title role in Carmen, at English National Opera as Schwertleite in Die Walküre, conducted by Martyn Brabbins, and in Oviedo as the title role in Hänsel und Gretel. She returns to the Festival d’Aix-en-Provence as Ottavia in L’incoronazione di Poppea under the baton of Leonardo Garcia Alarcon and to Opéra de Toulon as Polina in The Queen of Spades. On the concert platform, Ms. Barron has a recital debut at Wigmore Hall, joins Barbara Hannigan for Offenbach with the London Symphony Orchestra at the Barbican, and reunites with regular collaborator Julius Drake for a United States recital tour, performances of Schubert’s Winterreise in Spain, and multiple concerts in the United Kingdom. Additionally, she serves as an artist-in-residence at Denmark’s Oremansgaard Festival with acclaimed cellist Natalie Clein. This season sees the release of CDs of Brahms and Samuel Barber songs, both for Resonus Classics, as well as a world rremiere recording of the Handel/Hasse opera “Caio Fabbricio HWV A9” with London Early Opera for Signum Records, in which she sings the lead role of Pirro.

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Reviews

“The real stage vibrancy rests with Tatyana’s supposedly more complacent sister Olga, so compellingly acted and sung by Fleur Barron. Her unique mezzo-contralto immediately stood out in the Blackheath performance of Brahms’s Liebeslieder Waltzes; here she proves herself a stage animal as well. You can’t take your eyes off her whenever she appears; Garsington should build a Carmen around her. “

 

David Nice

The Arts Desk, June 2021

“Barron was incredibly watchable, perfectly incarnating Olga’s irrepressible nature as the life and soul of any party, and particularly impressed with the strength and quality of her low register.”

David Karlin

Bachtrack, June 2021

“The word ‘indisposed’ must send a pulse of dread through the heart of the concert hall director. How is one to find a replacement mezzo soprano who can sing anything from Bach to Berkeley with just 24 hours’ notice? Fleur Barron, who flew into London for this concert with pianist Julius Drake and cellist Natalie Clein did more than simply ensure the ‘show went on’. She brought incredible poise and expressive weight — not to mention a thrillingly dark and rich-veined mezzo, and a striking stage presence, to Kings Place for this concert in the Cello Unwrapped series..”

Claire Seymour

Seen and Heard International, September 2017

“The cast… was strong across the board, but mezzo-soprano Fleur Barron as Anna was the charismatic star, projecting her character’s sass but also her sincerity, with a tone that was idiomatically dark and smoky”

Jeremy Eichler

The Boston Globe, 2016

More Reviews

“Dido was Fleur Barron: … a striking-looking young woman with an intriguingly dark and complex mezzo voice”

Opera News, 2015

“Fleur Barron was… the one revelation. Her meltingly rich mezzo and flair removed the ridiculousness [of the character].”

Los Angeles Times2019

“Fleur Barron, an earthy Baba the Turk in The Rake’s Progress, sounded like a Carmen in the making.”

New York Times2019

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