Singaporean-British mezzo Fleur Barron has been hailed as a “charismatic star” by the Boston Globe and a "knockout performer" by The Times. She is a 2018 HSBC Laureate of the Festival d’Aix-en-Provence and received Tanglewood Festival's 2016 Jackson Prize, awarded to one outstanding young vocalist each year. She is also an award winner of the 2021 Royal Philharmonic Society Enterprise Fund for demonstrating "resilient, creative and inspiring" vision as a classical musician in response to COVID. A passionate interpreter of chamber music, concert works and opera ranging from the baroque to the contemporary, Fleur is mentored by Barbara Hannigan.
Fleur is committed to exploring the many ways music can facilitate cross-cultural dialogue and healing. She is passionate about curating inclusive chamber music programming that amplifies the voices of diverse communities. An active mentor and educator, Fleur is a member of the Hope Collective, an artist-in-residence at Manhattan School of Music, and is currently mentoring young singers in collaboration with Cape Town Opera, Manhattan School of Music and the Malaysian Philharmonic. Born to a British father and Singaporean mother in Northern Ireland, Fleur grew up in the Far East and has also spent considerable time in New York and the U.K. She is currently based in London.
In the 2020-2021 season, Fleur makes several role and house debuts: Opera Philadelphia as Sasha Garner in the world Premiere of Jennifer Higdon’s Woman with Eyes Closed; Arizona Opera as the title role in Carmen; Garsington Opera as Olga in Eugene Onegin; Ottavia in L'Incoronazione di Poppea with Versailles Opera and reprises Mercedes in Carmen with Opéra de Monte-Carlo. On the concert platform, Fleur performs Chausson’s Poème de l'Amour et de la Mer with the Orchestre Symphonique de Toulon, Mahler's Kindertotenlieder with the Léman Lyriques Festival in Geneva, joins regular collaborator Julius Drake for several recitals: Mahler at Het Concertgebouw, "Winterreise" for Chamber Music Northwest, an all-Schubert duo recital with Ian Bostridge at the Oxford Lieder Festival, and a "Homeland and Dreams" themed recital for the Philadelphia Chamber Music Society. In addition, Fleur curates and performs a series of recitals around Empire/colonialism at the Aix-en-Provence Festival with pianist Kunal Lahiry; curates a recital around Asian composers/poets with pianist Myra Huang; performs recitals with pianist Joseph Middleton at both Leeds Lieder Festival and Blackheath Halls, with tenor Frederick Ballentine and Kunal Lahiry for L.A. Opera, and with Jocelyn Freeman at Aldeburgh.
The 2019-2020 season featured major role and house debuts, including 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 at Opéra National de Montpellier. Fleur's vibrant concert season included debuts with the Munich Philharmonic in Stravinsky's Pulcinella under Barbara Hannigan, Berlioz arias with the Malaysian Philharmonic; and Beethoven's 9th Symphony with the Virginia Symphony Orchestra. Fleur also continued her partnership with pianist Julius Drake, performing twice at Het Concertgebouw, in New York at the 92cd Street Y, and in concerts in the U.K.; she also presented
multiple recitals with Roger Vignoles in the U.K., including a Schubert 1828 recital at the Aldeburgh Festival.
In the 2018-2019 season, Fleur was an artist-in-residence at the Ojai Festival under the helm of Barbara Hannigan, where she curated a program of folk songs for chamber ensemble and vocal soloists, and performed pieces by Cage, Walton, and Stravinsky. Fleur also debuted the role of Baba the Turk in The Rake’s Progress at La Monnaie/de Munt and Aldeburgh Festival to critical acclaim; sang Olga in Eugene Onegin with
Opéra de Toulon; Balkis in Barkouf by Offenbach with Opéra National du Rhin; Maddalena in Rigoletto with Northern Ireland Opera; 1st Witch in Dido and Aeneas with Festival d’Aix-en-Provence; and Marguerite in La Damnation de Faust at the St Endellion Festival (U.K.). On the concert platform, Fleur toured with Orchestre Regional de Normandie as alto soloist in Pergolesi’s Stabat Mater, and continued her recital partnerships with Julius Drake and Roger Vignoles, performing concerts in Madrid and across the U.K.
Other recent highlights include Anna I in Kurt Weill’s die Siebentodsünden at Tanglewood Music Festival, where she also performed Messiaen's Harawi, amongst other chamber music; Fenena in Nabucco with Opéra National de Montpellier, for which Fleur was hailed as the “revelation of the evening” by Olyrix; alto soloist in Bernstein’s Songfest with the BBC Symphony Orchestra at Barbican Hall; the title role (cover) in Raphael Pichon and Katie Mitchell’s Purcell pastiche Miranda at Opéra Comique; multiple recitals with Julius Drake in the U.K.; a recital of Weill and Messiaen with Barbara Hannigan for France Musique; and a recital at Aldeburgh Festival with pianist Jonathan Ware.
Fleur holds a B.A. in Comparative Literature with highest honours from Columbia University and a Masters from Manhattan School of Music.