Jerome Correas started studying the piano at the age of five and soon he fell in love with the harpsichord. He, then, became the pupil of the great harpsichordist and musicologist Antoine Geoffroy-Dechaume whose teaching, based on improvisation and rhythmic flexibility, were a great influence on his career.
His curiosity for singing led him to present himself at the CNSM, in Paris, where he won the First Lyrical Art Prize in the class of Xavier Depraz, and the First Prize in Baroque Singing on William Christie’s class. Correas stands out at William Christie’s eyes, and started at the festival of Aix-en-Provence, under Christie’s direction, with Purcell’s “The Fairy Queen”. Together with that, he became a member of the Arts Florissants from 1989 to 1993.
Jerome Correas kept diversifying his tastes and activities by following the teaching of René Jacobs at Studio Versailles Opéra, and then, between 1992 and 1994, at the singing school of the Paris Opera on Régine Crespin’s recommendation. He then works, in both lyrical and baroque repertoires, under the baton of numerous conductors: William Christie, Sylvain Cambreling, Christophe Coin, Michel Corboz, Philippe Entremont, Marco Guidarini, Emmanuelle Haim, Jean-Francois Heisser, Sigiswald Kuijken, Marek Janowski, Jesus Lopez-Cobos, Jean-Claude Malgoire, Hervé Niquet, Donato Renzetti, François-Xavier Roth, Christophe Rousset, Jean-Christophe Spinosi, Arie Van Beek...
Throughout his career, Correas favors the interpretation of the French melody that he sang in all over Europe and in the United States alongside Jean-Claude Pennetier, Claude Lavoix, Philippe Bianconi, Jean-Francois Heisser, Marie-Josèphe Jude, Jeff Cohen or Philippe Cassard.
In 2001, Jérôme Correas turned to conducting and founded Les Paladins, a vocal and instrumental ensemble dedicated to explore the 17th and 18th century operas from Monteverdi to Mozart.
With directors such as Dan Jemmett, Christophe Rauck, Vincent Tavernier, Vincent Vittoz, Irene Bonnaud, Mireille Larroche and Jean-Denis Monory, he created many French, Italian and English operas, from Monteverdi, Cavalli, Rossi, Marazzoli to Haydn and Paisiello, passing by Purcell, Marin Marais, Destouches or Rameau and Gretry. Les Paladins recorded about thirty records and performed in several theaters and festivals in France and abroad.
His double experience as both a harpsichordist and a singer allowed him to present a very personal interpretation based on the theatricality, the breathing and the rubato, but also to manage a research on the art of the "Parlé-Chanté", particularly found in the Italian opera as well as on the 17th century and comic opera, two genres that are especially fond to him.
His way of passing forward this artistic research is by being a guest conductor: Rouen Opera Orchestra (Haydn's La Vera Constanza, directed by Elio de Capitani), Israel Camerata Chamber Orchestra (Pergolesi’s Stabat Mater), Moscow Chamber Orchestra (Haendel, Mozart), St Petersburg Baroque Orchestra (Charpentier’s Acteon), Balearic Symphony Orchestra (Vivaldi, Handel, Gluck), Catania Opera Orchestra (recreation of Paisiello’s Fedra for the reopening of the Teatro Massimo Bellini) , Orchestra of the CNSM of Paris, Maîtrise of Notre-Dame de Paris, Chamber Choir of Namur…