Katia Ledoux

Press

Finale of the 38th International Hans Gabor Belvedere Singing Competition, Villach, July 2019

‘The only French singer of the selection to start, Katia Ledoux, whose velvet timbre, with what it means of shimmering and soft asperities, is a sensation. Her recent engagements in Graz or Zurich show that others have been sensitive to this exceptional vocal material.’

Christophe Rizoud, Forum Opéra, 9.7.2019

‘The French mezzo Katia Ledoux (last year IVC finalist) was very convincing with “Che farò senza Euridice” by Gluck – one of the few who really managed to transmit her text […]’

Jordi Kooiman, Opera Magazine, 8.7.2019

Geneviève in ‘Pelléas et Mélisande’, Dutch National Opera, June 2019

‘The discovery is mezzo Katia Ledoux, who has a rare, completely unique and very soulful sound.’

Mischa Spel, NRC, 7.6.2019

‘But it is above all the female characters who stand out. From a wonderful maternal presence, Katia Ledoux paints a splendid scene of the Letter.’

Laurent Vilarem, Opera Online, 5.6.2019

‘The only French singer was Katia Ledoux (Geneviève), and with perfect diction she really stood out in her small role.’

Peter van der Lint, TROUW, 6.6.2019

‘Katia Ledoux sang a beautiful Geneviève.’

Peter Franken, Place de l’Opera, 6.6.2019

‘[…] the Geneviève letter scene sung with a round mezzo-soprano and a beautiful idiomatic phrasing became one of the most convincing scenes of the show […]’

Paul Korenhof, Opus Klassiek, June 2019

International Vocal Competition 2018

‘The press jury fell for the French mezzo Katia Ledoux. This is not surprising: with her quirky repertoire choice (The Rake's Progress and Die Fledermaus), compelling presence and communicative qualities, she made a lasting impression. The breadth and depth of her instrument was not entirely revealed by Stravinsky and Strauss jr, but it was more than obvious that she is a self-confident singer who really has something to tell the audience.’ (translated via Google Translate)

Opera Magazine, 16.09.2018

‘Katia Ledoux: In our opinion, a singer with an exceptional talent to communicate in her singing, in her acting, but also with great attention for the text. [...] In Tschaikovsky’s Arioso, we not only heard every word, but although I do not speak Russian myself, her performance gave me the impression that I really understood what she was singing! [...] Absolutely irresistible was her own joy when singing Orlofsky’s aria from ‘Die Fledermaus’. With great artistic generosity, she invited us to join her feelings – and we surely did!’

Paul Korenhof, opera critic at OpusKlassiek, awarding Katia Ledoux the Dutch Press Prize at the 2018 International Vocal Competition in ’s-Hertogenbosch, 15.9.2018

Jetzt liegt New Orleans an der Rax

‘Und die junge, französische Mezzosopranistin Katia Ledoux, Solistin an der Grazer Oper, hat den Blues. Betörende Musik aus dem Süden der USA, wo die Küsse, die Bisse und die Risse nah beinander liegen, durchwebt diese Aufführung …’

Die Presse, 4.7.2018

‘Oper ist wie Star Trek’

‘Das Erste, was an ihr auffällt, ist ihre warme, voluminöse Stimme. Sie lacht ungezwungen, spricht viel mit den Händen, und zwar besonders animiert, wenn es um ihre große Leidenschaft geht: die Oper.’

etc., 9.12.2017

Some quotes have been translated into English with the help of Google Translate.

Katia Ledoux

Booking agent

Olivier Lallouette

TACT International Art Management

lallouette@tact4art.com

+31 633 04 24 94