A dynamic presence on international stages, this season she debuts three opera roles: Penelope in Monteverdi’s Il Ritorno d’Ulisse in Patria with baroque ensemble I Gemelli, touring to major venues including Teatro Real Madrid, Opéra de Bordeaux and Théâtre du Capitole Toulouse; multiple roles in Sir George Benjamin’s two-person opera Into the Little Hill with the Staatskapelle Berlin under Finnegan Downie Dear; and the title role of John the Baptist in the baroque opera La Decollazione di San Giovanni Battista (Grimani) with Haymarket Opera in Chicago.

On the recital platform, Fleur Barron joins regular collaborator Julius Drake for concerts in Vienna, Santa Fe, London, Copenhagen, Padua, Ireland, Oviedo and York. She returns to the 92 Street Y in New York with Myra Huang, LSO St. Luke’s with Bertrand Chamayou, Leeds Lieder with Joseph Middleton, and performs multiple recitals at the Wigmore Hall with Julius Drake, Swedish chamber ensemble O/Modernt, and string orchestra “12 Ensemble.” She is also the curator of Oviedo’s first East-West Fest in April 2024, featuring symphonic programs, chamber music, late-night concerts and community engagement over two weekends.

Last season, Fleur Barron achieved a critical success in the title role of Kaija Saariaho’s opera Adriana Mater in a new production by Peter Sellars with the San Francisco Symphony under Esa-Pekka Salonen, and made a string of exciting orchestral debuts: Debussy La Damoiselle Elue with Esa-Pekka Salonen and the Orchestre de Paris, Stravinsky Pulcinella with the Göteborgs Symfoniker and Barbara Hannigan, Berio Folksongs with Sir Mark Elder on tour with the Junge Deutsche Philharmonie, Bruckner Te Deum with Vasily Petrenko and the Netherlands Radio Philharmonic Orchestra, Beethoven Missa Solemnis with Thomas Hengelbrock and the Balthasar Neumann Ensemble, Beethoven Ninth Symphony with Rafael Payare and the Orchestre Symphonique de Montréal, Berlioz Les Nuits d’Ete with the Slovenian Philharmonic, and Mahler’s Rückert Lieder with the Orquesta Sinfonica del Principado de Asturias. She assayed the title role in Hasse’s Marc Antonio e Cleopatra with the NDR Radiophilharmonie in Hannover, alto soloist in a new, staged production of Mozart’s Requiem at the Opéra National de Bordeaux, and both Bersi in Andrea Chénier and Mallika in Lakme for Opéra de Monte-Carlo and the Théâtre de Champs-Elysées. On the recital platform, Fleur Barron joined Julius Drake for concerts at Het Concertgebouw, MiTO Festival in Milan and Turin, Philadelphia Chamber Music Society, Spivey Hall, and at the Théâtre de l’Athénée in Paris. She teamed up with duo partner Kunal Lahiry for recitals at Wigmore Hall and Oxford Lieder Festival, with Malcolm Martineau at Snape Maltings and with Joseph Middleton at Buxton Festival.

Highlights of recent seasons include the title role of Carmen for Arizona Opera, la Zelatrice in Suor Angelica with the Berlin Philharmonic under Kirill Petrenko, Baba the Turk in The Rake’s Progress with Barbara Hannigan at La Monnaie/de Munt and Aldeburgh Festival, Tchaikovsky’s Olga in Eugene Onegin and Paulina in The Queen of Spades at Garsington Opera and Opéra de Toulon; concerts with the BBCSO, Chicago Symphony Orchestra, the Malaysian Philharmonic, and opera roles with the Aix-en-Provence Festival, Opéra de Monte-Carlo, La Monnaie/de Munt, Garsington Opera, Opéra National de Montpellier, Opéra National du Rhin, and Cape Town Opera.

Fleur Barron 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 Asian creators and diverse communities. Born to a British father and Singaporean mother in Northern Ireland, Fleur grew up in Hong Kong and New York. Fleur holds a B.A. in Comparative Literature with highest honours from Columbia University and a Masters in Vocal Performance from Manhattan School of Music.