One of the most exciting and in-demand artists today, \u201castonishing\u201d (NY Times) French tenor Stanislas de Barbeyrac is praised by audiences and critics alike for complex and compelling musicianship and acting. He has received critical acclaim on many of the world’s most prestigious stages, including the Op\u00e9ra National de Paris, London\u2019s Royal Opera, the Vienna State Opera, the Metropolitan Opera, the Bayerische Staatsoper, the Dutch National Opera, the Teatro Real de Madrid, the Grand Th\u00e9\u00e2tre de Gen\u00e8ve, the San Francisco Opera, Festival d’Aix-en-Provence and Salzburg Festival.<\/p>\n
Four significant role debuts mark de Barbeyrac’s 2026\/27 season, beginning with the title role of Wagner’s Parsifal<\/em><\/strong> at London’s Royal Opera House in a new production directed by Evgeny Titov and conducted by Jakub Hr\u016f\u0161a. He subsequently makes his first appearance as Henri in Alb\u00e9ric Magnard’s rarely performed Guerc\u0153ur<\/em><\/strong> at Theater Dortmund and concludes the season as Samson in a new production of Samson et Dalila<\/em><\/strong> at Zurich Opera House under Gianandrea Noseda. He makes his role debut in the title role of Wagner\u2019s Lohengrin <\/em><\/strong>in concert performances with the Philadelphia Orchestra and Yannick N\u00e9zet-S\u00e9guin in spring of 2027. De Barbeyrac returns to the Op\u00e9ra national de Paris as Siegmund in Die Walk\u00fcre<\/em><\/strong> for the company’s Ring cycle under Pablo Heras-Casado and performs in the company\u2019s R\u00e9gine Crespin Gala. He performs in a staged production of Mozart\u2019s Requiem<\/em><\/strong> with the Op\u00e9ra National de Bordeaux and appears in the W\u00fcrth Philharmoniker\u2019s New Year\u2019s Concert alongside soprano Olga Kulchynska.<\/p>\n Highlights of previous seasons include Siegmund in Die Walk\u00fcre<\/em><\/strong> at the Royal Opera House in a new production by Barrie Kosky and conducted by Sir Antonio Pappano, a role he subsequently reprised at the Op\u00e9ra National de Paris under Pablo Heras-Casado and at the Baltic Opera Festival in Sopot. He appeared as Lensky in Eugene Onegin<\/em><\/strong> at the Metropolitan Opera, Erik in Der fliegende Holl\u00e4nder<\/em><\/strong> at Staatsoper Berlin, the Palau de les Arts Reina Sof\u00eda in Valencia and the Birgit Nilsson Festival in B\u00e5stad, and his portrayal of Don Jos\u00e9 in Carmen<\/em><\/strong> has been heard at the Staatsoper Berlin, Dutch National Opera, Op\u00e9ra National de Bordeaux and Opernhaus Z\u00fcrich. He has brought his interpretation of Tamino in Die Zauberfl\u00f6te<\/em><\/strong>, a pivotal role in his career since his debut in 2014 at Festival d\u2019Aix-en-Provence to Dutch National Opera, Chor\u00e9gies d\u2019Orange, Op\u00e9ra de Paris, Opernhaus Z\u00fcrich, Grand Th\u00e9\u00e2tre de Gen\u00e8ve and Teatro Real de Madrid.<\/p>\n De Barbeyrac has sung Pylade in Iphigenie en Tauride<\/em><\/strong> at the Greek National Opera and the Festival d\u2019Aix-en-Provence, and the title role in Pell\u00e9as et M\u00e9lisande<\/em><\/strong> at Gran Teatre del Liceu, Op\u00e9ra National de Bordeaux, Th\u00e9\u00e2tre des Champs-Elys\u00e9es and in Tokyo. He was heard as Jason in Cherubini\u2019s M\u00e9d\u00e9e<\/em><\/strong> at Teatro alla Scala, Max in Der Freisch\u00fctz<\/em><\/strong> at the Bayerische Staatsoper and Semperoper Dresden, Florestan in Fidelio<\/em><\/strong> with Insula Orchestra under Laurence Equilbey, and the title role in La <\/em><\/strong>c<\/em><\/strong>lemenza di Tito<\/em><\/strong> at Op\u00e9ra National de Paris.<\/p>\n Other notable roles include Piquillo in Offenbach\u2019s La P\u00e9richole<\/em><\/strong> at the Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es, Arbace in Idomeneo<\/em><\/strong> at the Royal Opera House and Chevalier de la Force in Poulenc\u2019s Dialogues des Carm\u00e9lites<\/em><\/strong> at Th\u00e9\u00e2tre des Champs-\u00c9lys\u00e9es, Bayerische Staatsoper, Th\u00e9\u00e2tre Royal de la Monnaie in Brussels, Teatro Comunale in Bologna, and Dutch National Opera Amsterdam.<\/p>\n On the concert stage, de Barbeyrac collaborated with many of the world’s leading orchestras and conductors. In 2026, he launched TRIP \u2013 Recital Augment\u00e9<\/em><\/strong>, an original recital project that reimagines the traditional song recital through a blend of classical repertoire and newly created works. A frequent collaborator of Yannick N\u00e9zet-S\u00e9guin, he joined the conductor for performances of the first act of Die Walk\u00fcre<\/em><\/strong> with the Vienna Philharmonic at the Salzburg Festival and Mozart’s Requiem<\/em><\/strong> and Great Mass in C minor<\/em><\/strong> with the Chamber Orchestra of Europe at the Baden-Baden Summer Festival. He has also performed Verdi’s Requiem<\/em><\/strong> with the Philharmonia Orchestra under Santtu Matias Rouvali, Beethoven’s Missa Solemnis<\/em><\/strong> with the Oslo Philharmonic under Klaus M\u00e4kel\u00e4, Mozart’s Davide Penitente<\/em><\/strong> and Haydn’s The Creation<\/em><\/strong> at the Salzburg Festival, and Mozart’s Requiem<\/em><\/strong> at the Verbier Festival.<\/p>\n 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\u2019AROP, and Queen Elisabeth International Competition in Brussels. De Barbeyrac joined the Atelier Lyrique of the Op\u00e9ra de Paris in 2008 and subsequently began his operatic career at theatres in Nice, Tours, Toulon, Strasbourg, Metz, Marseille and Avignon.<\/p>\n \u00a9 CSAM, August 2026<\/p>","protected":false},"excerpt":{"rendered":" One of the most exciting and in-demand artists today, \u201castonishing\u201d (NY Times) French tenor Stanislas de Barbeyrac is praised by audiences and critics alike for complex and compelling musicianship and acting. He has received critical acclaim on many of the world’s most prestigious stages, including the Op\u00e9ra National de Paris, London\u2019s Royal Opera, the Vienna State Opera, the Metropolitan Opera, the Bayerische Staatsoper, the Dutch National Opera, the Teatro Real de Madrid, the Grand Th\u00e9\u00e2tre de Gen\u00e8ve, the San Francisco Opera, Festival d’Aix-en-Provence and Salzburg Festival.<\/p>\n","protected":false},"author":4,"featured_media":8524,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[5],"tags":[],"class_list":["post-8470","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-tenor"],"acf":[],"_links":{"self":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/8470","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/comments?post=8470"}],"version-history":[{"count":27,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/8470\/revisions"}],"predecessor-version":[{"id":12875,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/8470\/revisions\/12875"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media\/8524"}],"wp:attachment":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media?parent=8470"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/categories?post=8470"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/tags?post=8470"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}