Julian Debreuil

bass-baritone

Anglo-Indian opera singer Julian Debreuil was born in the UK and studied in London, Marseille & Tuscany. He is praised by critics for his ‘rich and powerful’ voice. Having previously sung bass roles, Julian moved up to bass-baritone in 2022 and went on to win First Prize at the Grand Virtuoso Competition in Bonn, as well as reaching the finals of the Manhattan and the Nomea International Music Competitions. When preparing new roles, Julian studies privately with Janice Chapman and Bill Schumam.

In recent years he has performed the title role Duke Bluebeard’s Castle at the Arcola Theatre; Saul Hodgkins Ghost Train at the St Magnus International Festival & Beaumaris Festival; Colline La Boheme and Don Basilio Il Barbiere di Siviglia for the Ravenna Opera Festival; Don Pizarro Fidelio for Longborough Festival Opera; Nettuno Idomeneo for Buxton Opera Festival; Masetto Don Giovanni and cover Rigoletto for Diva Opera in South Africa, France, Scotland, England and the Channel Islands.

Concert work includes Beethoven Ninth Symphony with the London Mozart Players; Mozart Mass in C Minor at LSO St Luke’s; Handel The Messiah at Ampleforth Abbey; Verdi Messa da Requiem with the Philharmonia Orchestra; Elgar The Apostles with the BBC Concert Orchestra; Elgar The Dream of Gerontius with the Hamburg Symphony Orchestra; Beethoven Missa Solemnis with the Southbank Sinfonia; J. S. Bach Johannes-Passion with the London Handel Players.

Julian studied music at the Royal College of Music. In addition to his professional performing commitments, he is also the Founder & Director of two companies. The LONDON SINGERS’ COLLECTIVE LTD curates educational events and resources for singers, and the LONDON ARTS SEED PARTNERS LTD co-locates financiers and creatives in order to build a better long-term funding model for small to medium sized companies operating within the Arts Sector. During the period 2014-2019 Julian was on the Board of Directors at Assiduity Ltd, a London-based property management company.

‘Possesses an outstanding talent, a remarkable musicality and a very accomplished technique’ - Manhattan international Music Competition

‘Julian Debreuil’s notable, powerful Talbot was deeply moving’ - Fiona Maddocks writing for The Observer (Maria Stuarda, OperaUpClose)

‘There is good support all round, in particular from Debreuil’s stalwart Talbot.’ - Ron Simpson writing for The Reviews Hub (Maria Stuarda, OperaUpClose)

‘Bass-baritone Julian Debreuil produced a beautifully resonant sound - almost overpowering for the size of the venue’ - Josephine Miles writing for Rhinegold Publishing (The Gardeners, a new opera by Robert Hugill at Conway Hall)

‘Bass-baritone Julian Debreuil had real presence, using his vocal strength and vivid colour to convey absorbing immediacy’ - Claire Seymour writing for Opera Today (The Gardeners, a new opera by Robert Hugill performed at Conway Hall)

‘Bass-baritone Julian Debreuil used his rich and powerful voice to great effect’ - Paul Grey writing for Reviews Gate (J. S. Bach Cantatas 21, 29 and Mass in G Minor, Birmingham Bach Choir & The Musical and Amicable Society)

'Julian Debreuil sings Gremin’s aria with great authority’ - Peter Reed writing for Opera (Eugene Onegin, Opera Loki)

‘Julian Debreuil’s performance of Prince Gremin’s aria in Act 3 is brilliantly sung and full of wonder' - Mary Grace Nguyen writing for The Cross-Eyed pianist (Eugene Onegin, Opera Loki)

‘Julian Debreuil's warm Sarastro' - Ron Simpson writing for The Reviews Hub (Die Zauberfloete, OperaUpClose)

'Julian Debreuil lends his sonorous, euphonic voice to the kind and wise Sarastro' - Verity Williams writing for LondonTheatres (Die Zauberfloete, Charles Court Opera)

'High points of an exceptional evening include Julian Debreuil's Sarastro, his voice particularly stunning on the low notes' - John Watson writing for Shawsheet (Die Zauberfloete, Charles Court Opera)

'Julian Debreuil had a stentorian voice and imposing presence' - Robert Hugill writing for Planethugill (Die Zauberfloete, Charles Court Opera)

'Julian Debreuil is a sturdy Briano' - Anna Picard writing for The Times (Aroldo, UCOpera 2017)

'A strong and clearly sung bass by Julian Debreuil' - Mark Ronan writing for Theatre Reviews (Aroldo, UCOpera)

'Briano doesn't get any big solo but Julian Debreuil's sturdy bass made his presence felt' - Mark Pullinger writing for Backmesser's Quill (Aroldo, UCOpera)

'This performance is dominated by Julian Debreuil who sings with power and sonority. His interpretation of this role is incredibly believable.' - Classic Toulouse (Don Giovanni, Le Theatre l'Italienne de Cherbourg)

'Julian Debreuil stands out as an edgy Zuniga' - Fiona Maddocks wiring for The Guardian (Carmen, OperaUpClose)

'A very good singer - a powerful, attractive sound with a great deal of vocal colour' - The Wagner Society

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