Alix Le Saux

Following a highly successful first career as a mezzo-soprano, French Alix Le Saux has recently embraced the soprano repertoire with remarkable success, earning unanimous critical acclaim for the richness of her voice, the refinement of her musicianship and her compelling dramatic performances.

Following her acclaimed Donna Elvira at the Théâtre du Capitole de Toulouse, ClassicAgenda wrote: “Alix Le Saux’s Donna Elvira is vocally and dramatically captivating. The character’s complexity is delightfully conveyed: the voice is very rich, a full-bodied instrument and perfectly controlled.” This celebrated role now marks a significant new chapter in an already distinguished international career.

Before her transition to soprano, Alix Le Saux was recognised as one of France’s leading lyric mezzos, acclaimed for portrayals such as the title role in Massenet’s Cendrillon with Glyndebourne Touring Opera, Dido in Purcell’s Dido and Aeneas at the Opéra de Lyon, the Ruhrtriennale Festival and Opera Ballet Vlaanderen, Rosina in Rossini’s Il barbiere di Siviglia, and the title role in Offenbach’s La Belle Hélène at the Théâtre des Champs-Élysées.

Her recent seasons have illustrated the remarkable breadth of her artistic personality. Highlights include Lully’s Roland at the Opéra Royal de Versailles, Zerlina in Don Giovanni at Barcelona’s Gran Teatre del Liceu under Marc Minkowski, with subsequent performances in Bordeaux and Versailles, and the First Lady in Mozart’s Die Zauberflöte at the Festival d’Aix-en-Provence. Her recent interpretations of Donna Elvira, both at the Théâtre du Capitole de Toulouse and with ARCAL, have firmly established her among today’s outstanding interpreters of the role.

Throughout her career, Alix Le Saux has appeared on many of Europe’s foremost stages, including the Opéra national de Paris, where she performed in Tannhäuser, L’Amour des trois oranges, Werther and Manon; the Theater an der Wien in Rossini’s Otello; the Glyndebourne Festival in Rusalka; the Opéra National de Lyon in the title roles of Ravel’s L’Enfant et les sortilèges and Purcell’s Dido and Aeneas; the Opéra-Comique in Viardot’s Cendrillon, Offenbach’s Fantasio and Johann Christian Bach’s Amadis de Gaule; the Opéra National de Bordeaux in Boesmans’ Pinocchio and Lavandier’s La Légende du Roi Dragon; and the Théâtre du Capitole de Toulouse in Gluck’s Orfeo ed Euridice.

Her repertoire also embraces Baroque and Classical opera, with notable appearances as Ottavia in Monteverdi’s L’Incoronazione di Poppea in Paris and Geneva, Ericlea in Il ritorno d’Ulisse in patria at the Teatro Real Madrid, Lausanne, the Théâtre des Champs-Élysées and A Coruña, Caccini’s La liberazione di Ruggiero dall’isola d’Alcina in Lausanne, Ambronay and Toulouse, Cenerentola in Massenet’s opera in Nancy, Luxembourg and Reims, and Offenbach’s Orphée aux enfers at Hamburg’s Elbphilharmonie.

Upcoming engagements include further performances of Donna Elvira in Mozart’s Don Giovanni in Toulon and Tours, confirming the role as one of the new cornerstones of her repertoire.

Her discography continues to expand with a new recording for Naïve, featuring La Speranza in Monteverdi’s L’Orfeo and Ericlea in Il ritorno d’Ulisse in patria, further highlighting her close affinity with the early Italian repertoire.

Combining the warmth and depth inherited from her mezzo years with the brilliance and flexibility of a lyric soprano, Alix Le Saux has forged a unique artistic identity. Equally at home in Baroque opera, Mozart, French repertoire and contemporary works, she is today one of the most distinctive French singing actresses on the international stage.

Representation : General Management