Fleur Barron

Mezzo-soprano

Biography

Hailed as a “charismatic star” by the Boston Globe and “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 a recipient of the 2016 Jackson Prize from 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.

Ms. Barron has been chosen by Het Concertgebouw as a “Hemelsbestormer”(Skystormer) and featured artist for the 2022-2023 season. She has also been designated “Artistic Partner” of the Orquesta Sinfonica del Principado de Asturias in Oviedo for several seasons beginning in the 2022-2023 season, for which she will curate and perform multiple projects each year.

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 for her role debut as Polina in The Queen of Spades. On the concert platform, Ms. Barron joins Barbara Hannigan for Offenbach with the London Symphony Orchestra and appears twice at Wigmore Hall, first in an all-Mahler program with Graham Johnson and Alice Coote, and subsequently in a program for voice, piano, and string quartet with the Kaleidoscope Chamber Collective. She reunites with regular collaborator Julius Drake for concerts in the United States as well as performances of Schubert’s Winterreise in Barcelona, Las Palmas, and Ireland. Additionally, she serves as an artist-in-residence at Denmark’s Oremansgaard Festival with acclaimed cellist Natalie Clein, and joins duo partner Kunal Lahiry for their Empire/Identity recital in Berlin and Stuttgart. Finally, this season sees the release of CDs of Brahms and Samuel Barber songs, and also a world premiere 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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