A passionate interpreter of chamber music, concert works and opera, British-Singaporean mezzo Fleur Barron has been hailed as a “charismatic star” by the Boston Globe and as "knockout performer" by The Times. Currently mentored by Barbara Hannigan, Fleur is comfortable in repertoire ranging from the baroque to the contemporary. Fleur is a

2018 HSBC Laureate of the Festival d’Aix-en-Provence and received Tanglewood's 2016 Jackson Prize, awarded to one outstanding young vocalist each year.

The 2019-2020 season features major 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 at 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, Chausson's Poème de l'Amour et de la Mer with the Orchestre Symphonique de Toulon; and Beethoven's 9th Symphony with the Virginia Symphony Orchestra. Fleur also continues 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 presents 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 Offenbach’s Barkouf 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. She completed young artist training at the Tanglewood Music Festival, Ravinia Festival Steans Institute, Britten Pears Young Artist Programme, Mozart Residency of the Aix-en-Provence Festival, Aspen Music Festival, Palm Beach Opera and Opera Theatre of Saint Louis. Fleur was born in Northern Ireland and grew up in Hong Kong before completing her studies in the States. She is currently based in London.

© 2019 by Fleur Barron. 
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