Endowed with a sunny voice and great musicality, Julien Behr was not destined to become a tenor on the opera stage. After graduating from the University of Lyon with a Master's degree in Business Law, he decided to put his legal career on hold and study music. He was admitted to the Conservatoire National Supérieur de Musique et de Danse de Lyon (CNSM), where he graduated with a first prize. This change of direction was no accident, as Julien is now considered one of the finest tenors of his generation.

Julien Behr, whose voice is equally at home in the Mozart repertoire as it is in French romanticism and bel canto, has been invited to perform in many prestigious opera houses in France and abroad. The Opéra de Paris, Théâtre des Champs-Elysées, Opéra-Comique, Opéra de Lyon, Opéra de Bordeaux, and Strasbourg have all opened their doors to him. Internationally, he has graced stages such as Venice's Fenice, Salzburg’s Mozartwoche, London's Barbican Centre, Flanders Opera, Cologne Opera, Luxembourg's Grand Theatre, Minneapolis Opera, and New York's Mostly Mozart Festival.

Highlights of Julien's past seasons include his debut as Roméo in Gounod's “Roméo et Juliette” at the Theater an der Wien, Cinna in Spontini's “La Vestale” at the Opéra de Paris, and Gerald in “Lakmé” at the Opéra national du Rhin. In the current season, Julien will debut as Don José in Paris, make his debut at the Komische Oper in Berlin in a staged version of “Messiah”, and perform as Jason in “Médée” at the Paris Opera Comique. Julien will close the 2024/25 season singing Alfredo in “La Traviata” at the Grand Theatre de Genève.

Julien has performed under the baton of the greatest conductors, including Alain Altinoglu, Louis Langrée, René Jacobs, François-Xavier Roth, Marc Minkowski, and Mikko Franck. He has also worked with renowned directors such as Olivier Py, Klauss Guth, Robert Carsen, and Damiano Michieletto.

Nominated for the 2013 Victoires de la Musique in the category of "Lyricist of Revelation," Julien is also a regular guest on various television programmes. For him, these appearances are an opportunity to share opera with a wider audience and to make opera accessible to as many people as possible.