Stanislas de Barbeyrac is one of the most important tenors to have emerged in recent seasons, having performed to great acclaim at such leading theaters as the Opéra National de Paris, Royal Opera House, Covent Garden, Wiener Staatsoper, Metropolitan Opera, Bayerische Staatsoper in Munich, Dutch National Opera in Amsterdam, Teatro Real in Madrid, Grand Théâtre de Genève, San Francisco Opera, and at the Aix-en-Provence and Salzburg Festivals. De Barbeyrac began the 2019/20 season with his debut as Don Carlos and Damon in Les Indes Galantes at the Opéra National de Paris, after which he made his debut at the Teatro Real as Tamino in Die Zauberflöte. He also made a very significant addition to his repertoire when he sang Max in Der Freischütz with the Insula Orchestra at the Théâtre des Champs-Elysées in Paris, Barbican Centre in London, and Opéra de Rouen. In the 2020/21 season, De Barberyac will sing his first performances of Don José in Carmen at the Opéra de Bordeaux, where he will appear earlier as Pelléas in Pelléas et Mélisande. He will also return to the Opéra de Paris as Tamino.
Stanislas de Barbeyrac came to international attention in 2014 when he sang his first Tamino at the Aix-en-Provence Festival, followed by his debut at the Royal Opera House, Covent Garden as Arbace in Idomeneo. He subsequently made debuts at the Opernhaus Zürich, Grand Théâtre de Genève and in Budapest as Tamino, and has since performed the role at the 2018 Aix-en-Provence Festival, Dutch National Opera, Chorégies d’Orange, and Opéra de Paris. De Barberyac has appeared in numerous other productions in Paris: as Pylade in Iphigenie en Tauride, as Admete in Alceste, as Gonzalve in L’Heure Espagnole, and most recently as Don Ottavio in the new production of Don Giovanni. De Barberyac debuted as Don Ottavio at the Drottningholms Slottsteater in Sweden, and it was as Don Ottavio that the artist made his North American stage debut at the San Francisco Opera in 2017, as well as his debut at the Metropolitan Opera in 2019. He has also appeared in Don Giovanni at the Bayerische Staatsoper. De Barberyac made his Wiener Staatsoper debut as Renaud in a new production of Gluck’s Armide, a work he has also sung in concert in Bordeaux and at the Philharmonie in Paris.
De Barberyac sang his first Pelléas in Pelléas et Mélisande in Bordeaux in 2018 and subsequently sang the role for his debut in Tokyo. He also recently made his debut at the Semperoper Dresden as Alfredo in La Traviata and sang Macduff in Macbeth for Opéra de Marseille. Another important role in the tenor’s repertoire has been the Chevalier de la Force in Poulenc’s Dialogues des Carmélites, which he first sang with Opéra de Toulon and later reprised in Nantes-Algers, at the Théâtre des Champs-Elysées, and for his debuts at the Bayerische Staatsoper, Théâtre Royal de la Monnaie in Brussels, Teatro Comunale in Bologna, and Dutch National Opera.
Stanislas de Barbeyrac studied at the Conservatoire de Bordeaux with Lionel Sarazzin, who remains his vocal mentor today. He has been a prizewinner 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 theaters 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 in Tannhäuser and Evandre in Alceste. His first leading role in Paris was Narraboth in Salome, a role he subsequently sang in São Paulo. He sang his first Lensky in Eugene Onegin at the Théâtre du Châtelet and his first Alfredo in La Traviata in Saint-Étienne.
De Barberyac appears regularly in recital and concert in such works as Berlioz’s Requiem, Beethoven’s Symphony No. 9, and Mendelssohn’s Elijah. He made his Salzburg Festival debut in Mozart’s Davidde Penitente and later returned to Salzburg for Haydn’s Die Schöpfung.