© 2019 by Fleur Barron. 
  • Twitter
  • YouTube
  • Instagram

“Barron brought incredible poise and expressive weight --

not to mention a thrillingly dark and rich-veined mezzo and

a striking stage presence" (Seen and Heard International)


The 2019-2020 season features significant role and house debuts, including Ottavia in Monteverdi's L'Incoronazione di Poppea at the Aix-en-Provence Festival, Suora Zelatrice in staged performances of Suor Angelica with the Berlin Philharmonic under Kirill Petrenko, the title role in Handel's 

Giulio Cesare with the NDR Radiophilharmonie, Suzuki in Madama Butterfly with The Hallé Orchestra under Sir Mark Elder, the title role in Gluck's Orphée et Eurydice with Cape Town Opera, and Suzuki with Opéra National de Montpellier. 

Fleur's vibrant concert season includes  debuts with the Munich Philharmonic in Stravinsky's Pulcinella under Barbara Hannigan, Berlioz arias with the Malaysian Philharmonic under Kees Bakels, Chausson's Poème de l'Amour et de la Mer 

with the Orchestre Symphonique de Toulon under Jurjen Hempel; and Beethoven's 9th Symphony with the Virginia Symphony Orchestra under JoAnn Falletta. Fleur also continues her partnership with pianists Julius Drake and Roger Vignoles in recitals at Amsterdam's Concertgebouw,

the Aldeburgh Festival, and other festivals in the U.K.




Zelatrice in Puccini's

Suor Angelica

Feb 1, 2020

Feb 2, 2020

Feb 3, 2020


(staged performances)

Conductor: Kirill Petrenko

Director: Nico Hümpel


Tickets and info: http://mpo.com.my/

Berlioz arias from Les Troyens and La Damnation de Faust


Feb 14, 2020

Feb 15, 2020

Feb 16, 2020


  Conductor: Kees Bakels


Tickets and info:


Stravinsky's Pulcinella


March 13, 2020

March 14, 2020

March 15, 2020


Conductor: Barbara Hannigan


Fleur is represented worldwide by IMG ARTISTS

To visit Fleur's artist page, click the icon:


To contact Fleur directly: fleurbarron1@gmail.com

"Fleur Barron was the charismatic star, projecting her character's sass but also her sincerity, with a tone that was idiomatically dark and smoky" (The Boston Globe)