Baroquiades – 16th July 2019 – P. Benveniste
« Mercury, messenger of the gods spoils the audience with a wonderful delivery. Here comesJupiter, proclaims Fabien Hyon, an impressive tenor with a penetrating voice, charming tone and flawless elocution.’ 
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Diapasonmag – 16th July 2019 – L. Chahine
Cyril Auvity is on great form, his smooth tenor voice never losing sight of the text or overacting, appreciating Fabien Hyon’s similar virtues. All recitatives are buoyed by constant and delightful dedication.
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Classiquenews – 15th July 2019 – J-F. Lattarico
It is absolutely wonderful to discoverPhilippe Estèphe with his beautifully crafted tone and rare art of recitation: despite the acoustics excessively reverberating in the Basilica, not a single syllable was lost to the building’s Romanesque volutes. Very much the same qualities are appreciated in the tenor Fabien Hyon’s mischievous and resolute Mercury: several duets with Cyril Auvity sparked a rare vocal pleasure that we would have liked to have seen more of.’
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ForumOpera – 12th July 2019 – L. Bury
Two wonderfully matched tenors, in Cyril Auvity […] and Fabien Hyon, a new and successful recruit, an exquisite, slightly darker Mercury (and quite extraordinary in ‘Les Maladies languissantes’).
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Télérama – 18th July 2019 – S. Bourdais
…a delightful scene of sweet nothings with Mercury (tenor Fabien Hyon, recently admired in Aunt Caroline’s Will).’
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Avant-Scène Opéra – 7th June 2019 – F. Goubault
‘Tenor Fabien Hyon is comfortable in all registers, both theatrical and vocal, and demonstrates impeccable elocution.’
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ForumOpera – 7th June 2019 – L. Bury
‘Noël provides Fabien Hyon with an opportunity to display great valour towards the end of the work, and Roussel is delighted that was this role was entrusted to such a singer.’
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Le Figaro – 7th June 2019 – C. Merlin
‘Attention should also be drawn to the musical clarity and fine vocal technique of the young leads Fabien Hyon and Marie Perbost.’
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ConcertClassic – 7th June 2019 – A. Cochard
 ‘ […] Fabien Hyon’s Noël is impossible not to love (the tenor was familiar in the melody, where he excels; here he asserts a sound theatrical disposition).’
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La Grande Parade – 15th April 2019 – D. Caudal
Fabien Hyon, tenor in the role of this ardent lover [Enée, editor’s note], lends tone to this tragic opera with ease and impressive precision.’ 
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Crescendo Magazine – 5th May 2018 – B. Beyne & M. Debra
« ‘With great vocal and artistic maturity, the French tenor Fabien Hyon’s repertoire focuses above all on French melody on which he appears to thrive. Accompanied by a loyal pianist, Michalis Boliakis, both of Hugo Wolf’s Möricke Lieder are performed with nobility and dramatic intensity; the pronunciation is flawless. The low voice is superb in Roussel’s Light and the crescendi throughout until fff are organic, steered by the lyrics. As Azaël in Debussy’s L’Enfant prodigue, his voice is tender, mellifluous to reach the final tragic: ‘I deserved my fate’…A highlight. What a great artist!’
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La croix – 7th April 2018 – E. Giulliani
‘Tenor Fabien Hyon’s fleshy, intense and radiant voice and stunning stage presence materialise in the perfect role for him and we can only hope for the best for this artist who has already embarked upon a great career, in both opera houses and concert halls.
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France Musique – 7th April 2018 – Th. Hillériteau
‘… and above all, above all, the tenor Fabien Hyon is literally dazzling as a splenetic and virtually schizophrenic Telemachus, torn between missing and hating his father. […] Indeed his monologue at the beginning is a truly virtuoso piece…’ 
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Le Figaro – 6th April 2018 – Th. Hillériteau
‘There is something very contemporary in the son’s monologue supported by the tenor Fabien Hyon’s superb energy.’
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ResMusica – 11th January 2017 – M. Tosi
‘The epiphany of the evening, Fabien Hyon’s tenor voice is more flexible and nuanced, the singer assuming his resounding double role with radiant energy and ease both on stage and vocally.’
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ForumOpera – 10th March 2016 – L. Bury
‘There is no keeping quiet about the hugely entertaining tenor Fabien Hyon, whose eloquent stage presence does not in any way detract from his singing: another name to keep an eye on.’ 
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