Julien Van Mellaerts
Awarded a 2016 Kiwi Music Scholarship, a 2016 Countess of Munster Award, Winner of the 2016 Brooks-van der Pump English Song Competition, the 2016 Joan Chissell Schumann Prize and Winner of the 2015 Maureen Lehane Vocal Arts Award, British / New Zealand baritone Julien Van Mellaerts studied at the University of Otago, before joining the International Opera School of the Royal College of Music. His studies have been supported by the Josephine Baker Trust, Janet Bolton O’Sullivan Scholarship, the Hunn Trust, an Alex Templeton Award, a Laing Award and the Wates Foundation Trust.
He is now a Fishmongers Company Scholar, supported by a Thomas Weinberger Award studying with Russell Smythe.
At the Royal College of Music, he has sung Mr Gedge Albert Herring and Gabriel von Eisenstein Die Fledermaus, and his engagements elsewhere have included Count Danilo The Merry Widow for Ryedale Festival Opera, Apollo L’Orfeo for Otago Opera and Schaunard La bohème for Haddo House Opera and Opera Holland Park Christine Collins Young Artists.
Concert highlights have included Paul Carr’s Requiem for an Angel with the Bournemouth Symphony Chorus and the world première of Lewis Murphy’s Land Unknown at New Zealand House, and he has appeared in recital with Christopher Glynn at the Ryedale Festival and with Nigel Foster at the London Song Festival.
Current engagements include Mahler Das Knaben Wunderhorn with Julius Drake for the Juan March Foundation, Madrid, Maître Pausanias Une education manquée, Nardo La finta giardiniera and The Husband / Le Directeur Les mamelles de Tirésias for the Royal College of Music International Opera School, Gustavo Faramondo for the London Handel Festival, Schaunard La bohème for New Zealand Opera, Dandini La cenerentola for Diva Opera, the St John Passion and Messiah with the Orchestra of St John’s, the St Matthew Passion in Southwark Cathedral, Mahler Lieder eines fahrenden Gesellen with the East Anglia Chamber Orchestra, The Genius of Mozart with the Orion Orchestra, Carmina Burana at The Snape Maltings and Vaughan Williams Hodie at Cadogan Hall, London.
Please note that this biography is not to be used for programmes. Current information is available on request.
Mr Gedge: Albert Herring / Royal College of Music Internatinal Opera School
“Julien Van Mellaerts as Mr Gedge (the vicar) was the most natural, pursuing the headmistress Miss Wordsworth with glutinous sincerity and some lovely singing.”
“Julien Van Mellaerts’ Mr Gedge seizes attention and simply won’t let go. There’s such detail in his oleaginous vicar, so ghastly-fond of Miss Wordsworth that even in the crowded scenes of Act II he draws the eye, constantly inventive.”
The Arts Desk
“Julien Van Mellaerts simpers deliciously as Mr Gedge the vicar, providing some of our finest moments of humour …”
“The baritone Julien Van Mellaerts gave a winningly detailed performance as Reverend Gedge, alert to the nuances of the text and aware of his fellow singers…”
Count Danilo: The Merry Widow / Rydale Festival Opera
“Count Danilo was taken with considerable brio by Julien Van Mellaerts…”
Aeneas: Dido and Aeneas / Cheltenham Bach Choir
“Aeneas (who sometimes strikes me as a complete cad) sounded sincerely in love with the queen in Julien Van Mellaerts’ emotionally charged portrayal.”
Seen and Heard International
Schaunard: La bohème / Christine Collins Young Artists at Opera Holland Park
"Julien Van Mellaerts sang a very stylish and lively Schaunard."
Mark Ronan Reviews
"Julien Van Mellaerts (whom we saw in Rossini's La Gazzetta at the Royal College of Music) and Richard Walshe (who was Figaro in Mozart's Le nozze di Figaro at the Royal College of Music) made a fine double act as Schaunard and Colline. Van Mellaerts was finely amusing in his solo in Act One (when the Bohemians have absolutely no interest in Schaunard's recitation of how he got the money which has bought them the food), and Walshe gave a fine farewell to his overcoat. But more than that, they joined with Christopher Cull and Stephen Aviss to bring out a delightful sense of camaraderie and shared experience in the lives of the four Bohemians, you really did get a sense of it being the four young men against the world. The horse-play was perhaps a little more stately, less rumbustious than usual, but that is no bad thing and the mock dance etc in Act Four made sense in the new context."
Gabriel von Eisenstein: Die Fledermaus / Royal College of Music International Opera School
“Eisenstein, the philandering husband about to go to prison for assaulting a police officer, was sung by the New Zealand baritone Julien Van Mellaerts. He managed to be both bumptious and suave, while also negotiating the high notes skillfully.”
“Julien Van Mellaerts made a nicely fatuous Eisenstein, and his sunny tenorial baritone made one regret the character’s lack of an aria.”