Yann Beuron - tenor
After completing his studies in sociology, Yann Beuron studied singing at the Conservatoire National Supérieur de Musique de Paris, with Anna Maria Bondi, leaving with highest honours. In December 1995, he made his debut at the Opéra du Rhin as Belmonte in Die Entführung aus dem Serail, under the direction of William Christie.
The following year, he made his debut at the Palais Garnier in Paris in a new production of Rameau's Hippolyte et Aricie. He returned to this theatre in 2004 to sing a new production of Ravel's L'Heure Espagnole and in 2006 to sing a new production of Gluck's Iphigénie en Tauride.
In subsequent years, his engagements rapidly increased, including the following : Così fan tutte (Bordeaux, Stuttgart), Idomeneo (Marseille), Don Giovanni (Lisbon), Il Barbiere di Siviglia and Mignon (Toulouse), Falstaff (Marseille, Festival d'Aix en Provence), La Cenerentola (Brussels, Lausanne), La Belle Hélène (Théâtre du Châtelet), Hamlet and L'Heure Espagnole (Royal Opera House, Covent Garden), Dialogues des Carmélites (Theater an der Wien). In 2003, Yann Beuron made his debut in the United States with the San Francisco Opera (Barbiere).
Beuron has since performed at the Paris Opera (Yvonne, Princesse de Bourgogne) and to the Aix Festival (Idomeneo). He also made his debut at the Mozart Festwochen in Salzburg (Idomeneo), at the Teatro Real in Madrid (Iphigénie, Pelléas et Mélisande and La Clemenza di Tito) and at the Netherlands Opera in Amsterdam (Iphigénie).
A frequent guest soloist on the concert podium, he has performed with the Orchestre du Capitole de Toulouse, the Orchestre de Bordeaux-Aquitaine, the Ensemble Orchestral de Paris, the Orchestre Philharmonique de Radio France and the Rotterdam Philharmonic.
Beuron has recorded for DGG-Archive, EMI France,
Virgin Classics, Erato and Philips Classics. His recordings include the third
part of Fauré's complete series (Timpani) and L'enfance du Christ under Sylvain Cambreling (Glor Classics).
Classical Music Magazine
Editor's Choice: 'Ticciati directs a vibrant, unsentimental account of this enduring score, and is joined by a near-perfect cast...'more >>International Record Review
'Robin Ticciati’s new version…is sensitive and scrupulous, responsive to the subtleties of Berlioz’s score and the emotions of the participants.’more >>Classical Ear
‘Each of the vocal soloists is excellent, whether narrating or portraying a character, and the good people that inhabit the Swedish Radio Symphony Orchestra and its Choir respond sensitively and, when required, dramatically to Ticciati’s carefully plotted course…Fantastique!’more >>Choir & organ
‘[Ticciati] obtains excellent results from them, and his phenomenal chorus, in idiomatic French, catch much of Berlioz’s tender response to the narrative of Christ’s early childhood.’more >>SA-CD.net
'...sounds so French and oozes with idiomatic Berlioz...'more >>MusicWeb International
'This is a most welcome release which further enhances the credentials of Robin Ticciati, especially in Berlioz.'more >>AllMusic.com
'... good for listeners who crave a bit of lushness...this audiophile recording is worth hearing for its subtlety and beauty.'more >>Financial Times
‘The orchestra and choir respond to the conductor’s direction with sensitivity: the angelic choral contributions are a highlight.’Pizzicato
'...delicate orchestral sound, homogeneous choir singing and a fantastic quartet.'more >>The Arts Desk
‘Glorious music, impeccably performed and magnificently recorded.’more >>Gramophone
'...full of honeyed tones and an occasional exotic splash.'more >>The Observer
'...this new [recording] is beautifully fluid, flexible and transparent...'more >>The Times
'Past performances have already established Robin Ticciati as a sterling Berlioz conductor...this latest Linn release, with the Swedish Radio Symphony Orchestra and Radio Choir, wins him another laurel.'more >>The Telegraph
'... a first-rate, affecting performance and a timely seasonal release.'more >>