One of the most exciting and in demand artists today, French tenor Stanislas de Barbeyrac came to international attention in 2014 when he sang his first Tamino Die Zauberflöte at Aix-en-Provence Festival. Since then, he has been in constant demand on the world’s most important opera stages such as Opéra National de Paris, Royal Opera House, Covent Garden, Wiener Staatsoper, Metropolitan Opera, Bayerische Staatsoper Munich, Dutch National Opera, Teatro Real Madrid, Grand Théâtre de Genève, San Francisco Opera, and at the Aix-en-Provence and Salzburg Festivals.
Engagements in the 2020/21 include a new production of Die Zauberflöte at Opera de Paris; two very exciting role debuts: Don José Carmen at the Opéra de Bordeaux and the title role La Clemenza di Tito at Opera de Paris; as well as a solo recital in Paris. De Barbeyrac also received invitations to sing Pylade Iphigenie en Tauride at Opera de Paris; Pelleas Pelléas et Mélisande in Bordeaux and Tamino Die Zauberflöte at the Metropolitan Opera, New York.
Last season De Barbeyrac made a hugely acclaimed debut as Max Der Freischütz at Theatre de Champs-Elysées in Paris, Barbican Centre in London, and Opéra de Rouen. Further appearances included his debut as Don Carlos and Damon in a new production of Les Indes Galantes at Opéra National de Paris; Tamino Die Zauberflöte at Teatro Real; and invitations to sing Don Ottavio Don Giovanni at Opéra National de Paris; and Admete in a new Alceste at Bayerische Staatsoper.
Recent engagements include Tamino Die Zauberflöte, a reference role in his career, at Aix-en-Provence Festival, Dutch National Opera, Chorégies d’Orange; Opéra de Paris; Opernhaus Zürich, Grand Théâtre de Genève and in Budapest; Arbace Idomeneo at Royal Opera House, Covent Garden; Renaud in a new production of Gluck’s Armide at Wiener Staatsoper; Alfredo La Traviata at Semperoper Dresden and in Saint Etienne; Macduff Macbeth at Opéra de Marseille and Lensky Eugene Onegin at Théâtre du Châtelet. De Barberyac debuted as Don Ottavio Don Giovanni at the Drottningholms Slottsteater in Sweden together with Marc Minkowski, and has since performed it at San Francisco Opera, Metropolitan Opera, Bayerische Staatsoper and in a new production at Opéra National de Paris. A regular star of Opéra National de Paris he also appeared there as Pylade Iphigenie en Tauride and Gonzalve in L’Heure Espagnole. Another important role in de Barbeyrac’s repertoire is that of the Chevalier de la Force in Poulenc’s Dialogues des Carmélites, which he has performed at Opéra de Toulon, Nantes-Algers, Théâtre des Champs-Elysées, Bayerische Staatsoper, Théâtre Royal de la Monnaie in Brussels, Teatro Comunale in Bologna, and Dutch National Opera. In 2018 De Barberyac added another hugely celebrated role to his repertoire, that of Pelléas Pelléas et Mélisande which he first performed in Bordeaux and subsequently for his debut in Tokyo.
De Barberyac appears regularly in recital and concert in such works as Berlioz Requiem, Beethoven Symphony No.9, and Mendelssohn Elijah. He made his Salzburg Festival debut in Mozart Davidde Penitente and later returned to Salzburg for Haydn Die Schöpfung.
Stanislas de Barbeyrac studied at the Conservatoire de Bordeaux with Lionel Sarazzin, who remains his vocal mentor today. He has been a prize-winner at several prestigious competitions, including the Prix du Cercle Carpeaux, Prix Lyriques de l’AROP, and Queen Elisabeth International Competition in Brussels. De Barbyerac joined the Atelier Lyrique of the Opéra de Paris in 2008 and subsequently began his operatic career at theatres in Nice, Tours, Toulon, Strasbourg, Metz, Marseille and Avignon, as well as at the Opéra de Paris, where he has appeared in many supporting roles, such as Walther von der Vogelweide Tannhäuser, Evandre in Alceste and Narraboth Salome.
The Guardian, November 2019
"There were, however, astonishing central performances from Stanislas de Barbeyrac as Max and Johanni van Oostrum as Agathe – truly outstanding singers with major careers ahead of them on this showing. De Barbeyrac’s vocal weight, easy top notes and sweetness of tone are well nigh ideal in this music, and he’s a fine actor, conveying Max’s emotional and moral agony with wonderful subtlety.”
Olyrix, July 2018
“He is an exceptional tenor, Stanislas de Barbeyrac. He too has the physique of the role, which allows him to pace the stage without weakening, to share his pain when he cannot answer Pamina. A sorrow, however, displayed by his powerful voice with suppleness and wisdom, coloured with tenderness or boldness.”
Diapason, January 2018
“Finally a tenor Pelléas, and what! Stanislas de Barbeyrac certainly spreads splendours (the full youth of the treble, the naturally darker base of the medium) but the vocal eroticism of this restless prince, the insolent support of the dynamic, are resolved into poignant intelligence of the verb, in dramatic reverie.”