Alix Le Saux



Alix Le Saux began singing with La Maîtrise des Hauts-de-Seine – the Children’s Choir of the Opéra National de Paris – at age 10, where she quickly became a key soloist in numerous productions. After studying law, she decided to return to singing and work with the bass Malcolm King.

Alix Le Saux made her career debut at the Salle Pleyel in the title role of L’Enfant et les Sortilèges with the Orchestre National d’Ile de France, which she performed for the Radio Classique Festival as well as at the Théâtre du Châtelet. She then also embodied the Discorde and the Second Coryphée in Bach’s Amadis de Gaule at the Opéra Royal de Versailles and Opéra-Comique, Armelinde in Pauline Viardot’s Cendrillon, the Muse and Nicklausse in Les Contes d’Hoffman at the Théâtre de Grasse and Nice Opera, and Rose in Lakmé at the Opéra de Saint-Etienne. At the Opéra National de Paris she appeared as En junger Hirt in Tannhäuser, Linette in L’Amour des trois oranges and Kätchen in Werther.

In 2014-15, Alix Le Saux performed the role of Lady Capulet in Blacher’s Roméo und Julia with the Opéra Studio de l’Opéra National de Lyon, as well as the title role of Orphée in Gluck’s Orphée et Eurydice at the Festival des Petites Nuits de Sceaux and on tour in Italy. She was also a finalist in the Mâcon International Singing Competition and the International Singing Competition for Baroque Opera Pietro Antonio Cesti in Austria.

During the 2015-16 season Alix Le Saux returned to the role of L’Enfant (L’Enfant et les Sortilèges) at the Théâtre des Champs-Elysées. Furthermore, she debuted at the Theater an der Wien as Emilia in Rossini’s Otello and was broadcast live on Arte Live Web singing Vivaldi’s cantata Cessate, omai cessate. She also appeared as l’Hirondelle in Simon Laks’ L’hirondelle inattendue and as the Squirrel and the Bat in L’Enfant et les Sortilèges at the Opéra National de Montpellier. Finally, she returned to the role of Orphée at the Festival d’Abbeville and to l’Enfant at Peking and Canton Operas in China.

Alix Le Saux began the 2016-17 season in the role of l’Enfant at the Opéra de Lyon, where she also returned for Mozart’s Great Mass in C minor, K. 427. She joined the Opéra Comique youth troupe where she began with the role of Flamel in Offenbach’s Fantasio. Alix also appeared at the Théâtre des Champs Elysées as Hélène in Offenbach’s La Belle Hélène and made her debut at the Festival de Beaune in Rossini’s Tancredi.

In 2017/18 Alix Le Saux made her debut in the role of Rosina in Il Barbiere di Sivigliaat the Théâtre des Champs Elysées and the Grand Théâtre de Luxembourg. She also gave recitals at the Opéra Comique and appeared in Fantasio at the Opéra de Rouen and in Pinocchio at the Opéra de Bordeaux.

This season has already seen her appear in a reprise of Fantasio at the Opéra Orchestre National, Montpellier as well as sing the title role in Cendrillon with the Glyndebourne Touring Opera under Duncan Ward. She also returned to the Lyon Opera earlier this season to sing Didon in Didon et Enée, remembered. A reprise of this production, which was staged by David Marton, will be performed at the Ruhrtriennale later this season.

Alix will appear in Berlioz’s Les nuits d’été with the Orchestre de la Suisse Romande later this year, as well as in Melly Still’s production of Rusalka at Glyndebourne Festival 2019, conducted by Robin Ticciati. She will also sing the Soldat Tortue in La Légende du Roi Dragon at the Opéra de Bordeaux, and La Speranza in L’Orfeo at the Théâtre du Capitole du Toulouse and in Geneva.

2018/2019 Season


“…how can you resist the stage presence of Alix Le Saux, in addition to her rich and well-projected tone? This Rosina knows what she wants and won’t let people stand in her way!”

“…comment résister à la présence scénique d’Alix Le Saux, en plus de son timbre riche et bien projeté ? Cette Rosina-là sait ce qu’elle veut et ne se laissera pas marcher sur les pieds!”

Rosina – Il barbiere di Siviglia / Rossini – Théâtre des Champs-Elysées. December 2017

Sophie Bourdais


“Alix Le Saux is a rebellious and determined Rosina with a strong lower register, effortless high notes and a fieriness that gives the character real personality. An excellent vocalist… she is among the most promising performers of the youth cast.”

“Alix Le Saux compose une Rosine rebelle et décidée avec un registre grave solide, un aigu facile et un rien véhément qui donne du caractère au personnage. Excellente vocaliste… elle figure parmi les éléments les plus prometteurs de cette seconde distribution.”

Rosina – Il barbiere di Siviglia / Rossini – Théâtre des Champs-Elysées. December 2017

Frédéric Norac


“Alix Le Saux lends her warm, rounded mezzo-soprano voice to a mischievous Rosina. Neither the high range nor the extreme effort required by the virtuosic score are obstacles to her voice”

“Mutine, Alix Le Saux rend à Rosina sa tessiture ronde et chaude de mezzo-soprano. Ni l’aigu, ni l’abattage requis par la virtuosité de l’écriture ne sont des obstacles à sa voix”

Rosina – Il barbiere di Siviglia / Rossini – Théâtre des Champs-Elysées. December 2017

Christophe Rizoud

Forum Opera

“Alix Le Saux gives an accomplished performance, displaying the velvety texture of her delicate voice, whose tender vibrato floats through the air of the theatre”

Hélène – La Belle Hélène / J. Offenbach – Théâtre des Champs-Elysées. March 2017

Damien Dutilleul

“Alix Le Saux is superb in the role of Hélène. Her low range is rounded and powerful, and her acting (notably her unbridled flirtatiousness) triggers the delight of the audience.”

Hélène – La Belle Hélène/J. Offenbach – La Seine Musicale. June 2017

Malory Matignon