With his innate sense of theatricality, a voice as supple as it is brilliant, perfect diction and inventive acting that is always spot-on, the young baritone Victor Sicard seems to have everything going for him, as confirmed by the many invitations he has received from prestigious opera houses and concert halls.

Since his celebrated participation in William Christie's sixth Jardin des Voix with Les Arts Florissants, Victor Sicard has sung with the most renowned ensembles: Le Concert d'Astrée (Emmanuelle Haïm), Les Accents (Thibault Noally), Le Concert Spirituel (Hervé Niquet), Aedes (Mathieu Romano), Le Poème Harmonique (Vincent Dumestre), Vox Luminis (Lionel Meunier), La Cappella Mediterranea (Leonardo García Alarcón), Insula Orchestra (Laurence Equilbey) and Il Pomo d'Oro (Maxim Emelyanychev).

In opera, Victor Sicard is outstanding in French music, from lyric tragedy to 20th-century works: Tisiphone in Mondoville's L'Amour et Psyché with Le Concert d'Astrée (Opéras de Dijon and Lille, Grand Théâtre de Luxembourg); La Jalousie and Némésis in Campra's Idoménée with the same ensemble (Opéra de Lille, Staatsoper Berlin). Victor Sicard made his debut at the Théâtre des Champs-Élysées in Gluck's Iphigénie en Tauride (Thomas Hengelbrock and Robert Carsen) and was Le Bonze in Stravinsky's Le Rossignol and Le Gendarme in Poulenc's Les mamelles de Tirésias (François-Xavier Roth and Olivier Py). He made his debut at the Capitole de Toulouse as Morales in Carmen (Giuliano Carella and Jean-Louis Grinda). He subsequently sang the role of Claude in Hahn's Ô mon bel inconnu, directed by Émeline Bayart (Opéra de Tours and Théâtre de l'Athénée), with great success.

Victor’s virtuosity shines with equal mastery in the Italian operas from the 17th to the 20th century. He has collaborated on two occasions with Il Pomo d'Oro (Partenope and Serse by Handel) and Thibault Noally's Les Accents (Farnace in Mitridate Eupatore by Scarlatti at the Beaune Festival, and Tempo in Il Trionfo del Tempo at the Opéra de Tours). He has forged close ties with Leonardo García Alarcón and his Cappella Mediterranea: Orlando in Rossi's Il Palazzo Incantato (Dijon, Nancy and Versailles Operas), Genere umano in Draghi's Il dono della vita eterna for a tour of the Netherlands and then France (Versailles, Dijon, the role of Saint Peter in Leonardo García Alarcón's composition La Passione di Gesù (Ambronay Festival and Namur Concert Hall). In Rossini, he sang Haly in L'Italiana in Algeri with Jean-Christophe Spinosi (Beaune Festival and Théâtre des Champs-Élysées). He made his debut as Yamadori in Puccini's Madama Butterfly at the Limoges and Rouen opera houses – where he also sang the role of the Mayor in Janáček's Jenůfa. He has also had success with contemporary works: Turnage's Coraline with Arie Van Beek and directed by Aletta Collins (Lille) and Philippe Forget's Hellebore (Limoges).

His oratorio repertoire includes Mozart's Requiem (Royal Albert Hall), Rossini's Petite Messe solennelle (Théâtre de Caen, Opéra de Massy), Duruflé's Requiem (Opéra de Dijon) and the St John Passion (Insula Orchestra and Laurence Equilbey). Two extensive tours with Le Concert d'Astrée have seen him perform Bach's Magnificat, Handel's Dixit Dominus and Campra's Requiem. He also performed Bach's Magnificat with the Israel Philharmonic and Lahav Shani in Jerusalem.
His recent engagements have confirmed this wide vocal range and his musical friendships: a revival of Scarlatti's Mitridate Eupatore (Paris, Amsterdam) and the role of Argante in Handel's Rinaldo (Paris, Madrid) with Les Accents; a revival of Hahn's Ô mon bel inconnu (Dijon, Rouen, Avignon and Massy); The Messiah with the Orchestre de l'Opéra de Versailles; Bach cantatas with Laurence Equilbey and Insula Orchestra.
The 2024/2025 season confirms Victor Sicard's musical openness: we should mention the revival of Rinaldo with Les Accents at the Beaune Festival, the role of Roberto in the world re-creation of Galuppi's L'uomo Femina with Le Poème Harmonique (directed by Agnès Jaoui) on many of Europe's major stages (Dijon, Versailles, Caen, Madrid, Barcelona), not forgetting the revival of Le Rossignol and Les Mamelles de Tirésias at the Cologne Opera.
In the midst of an abundant discography, his first recital disc (La Música label), devoted to Ravel's melodies with pianist Anna Cardona, was enthusiastically received by the press.