Hailed by the Boston Globe as a “charismatic star” and by Opera News as a “striking looking young woman with an intriguingly dark and complex mezzo,” Fleur Barron was awarded the 2016 Grace B. Jackson Prize for Excellence by the Tanglewood Music Festival, given to one outstanding young singer each season, and the 1st Prize in the 2013 Liederkranz Competition, resulting in her Carnegie Hall recital debut.
Highlights in the 2017-2018 season include a house and role debut as Fenena in Nabucco with Opéra National de Montpellier; a debut with Festival d’Aix-en-Provence as 1st Witch in Dido and Aeneas; a debut with Opéra Comique as the title role (cover) in Purcell’s Miranda, directed by Katie Mitchell; Marguerite in La Damnation de Faust at Mark Padmore’s St Endellion Festival; alto soloist with BBC Symphony Orchestra at the Barbican in Bernstein’s Songfest; a recital debut at the 2018 Aldeburgh Festival with pianist Jonathan Ware; several recitals with pianist Julius Drake and cellist Natalie Clein; a recital with Barbara Hannigan for France Musique; and theBritten Pears Young Artist Programme at Snape Maltings. Future seasons include house debuts in major roles with Opéra National du Rhin, La Monnaie/ de Munt, Northern Ireland Opera, and Opéra de Toulon; Baba the Turk in The Rake’s Progress under the baton of Barbara Hannigan at several festivals; artist-in-residence with the Ojai Music Festival (U.S.) under the helm of Barbara Hannigan; the title role in Carmen with company TBA; and further recitals with Julius Drake.
In the 2016-2017 season Fleur received critical acclaim for singing the role of Anna I and simultaneously dancing the role of Anna II in Kurt Weill’s Die sieben Todsünden (The Seven Deadly Sins) at the Tanglewood Music Festival. Fleur also performed several concerts in Tanglewood’s Seiji Osawa Hall, including the alto solo in Bach Cantata BWV116 and Messiaen’s Harawi. She also made her role debut as Angelina in Rossini’s La Cenerentola with Diva Opera (U.K.) on tour in France and the U.K., before joining the prestigious Mozart Residency of the Festival d’Aix-en-Provence for several concerts. Fleur subsequently debuted with Sarasota Opera (U.S.) as Zulma in Rossini’s L’Italiana in Algeri and Soeur Mathilde in Poulenc’s Dialogues des Carmélites. Concert engagements included the alto solos in Beethoven’s 9th Symphony and Choral Fantasy with the Flint Symphony Orchestra (Michigan).
In the 2015-2016 season, Fleur was a young artist with Palm Beach Opera, singing Mercedes and covering the title role in Carmen, performing Dryade in Ariadne auf Naxos, Pepa in Goyescas (Granados) and Maddalena in a concert version of Rigoletto. In 2015, Fleur joined Glyndebourne Chorus, performing in Carmen, Donizetti’s Poliuto, Handel’s Saul and Ravel’s L’Enfant et les Sortileges. She also sang the title role in Purcell’s Dido and Aeneas with baroque orchestra for New York Lyic Opera to critical acclaim. In 2015, she was seen in a recital at the Oxford Lieder Festival (U.K.) and subsequently participated in a week of public masterclasses with Brigitte Fassbaender at the Liederhalle, Stuttgart under the auspices of the Hugo Wolf Akademie.
In the 2013-2014 season, Fleur sang three performances of the title role in Carmen at the Aspen Music Festival and covered Mère Jeanne and Mère Marie in Dialogues of the Carmelites at Opera Theater of Saint Louis, where she had previously also covered Frugola in Il Tabarro. Fleur subsequently appeared as a fellow with the Ravinia Festival’s Steans Institute, where she debuted with the Chicago Symphony Orchestra as a soloist in Vaughn Williams’ Serenade to Music and performed several recitals.
Fleur holds a Master’s degree from Manhattan School of Music and a B.A. in Comparative Literature with highest honors from Columbia University. Born in Ireland and raised in Hong Kong, London and New York, Fleur is currently based in London.