François Le Roux

French baritone born on October 30, 1955 in Rennes. He began his singing studies at the age of nineteen with François Loup. He later joined L’Opéra-Studio in Paris, where he received classes from Vera Rosza and Elisabeth Grümmer. After receiving an award in the contest Maria Canals of Barcelona in 1978 and Rio de Janeiro in 1979, he enters the Opera Company of Lyons, where he remains from 1980 to 1985. From that moment begins an unstoppable international career that takes him to the Opera of Paris, La Scala in Milan, Covent Garden in London, La Fenice in Venice, Vienna, Munich, Hamburg, Zurich, Los Angeles, San Francisco, Buenos Aires and the Aix-en-Provance festivals, Edinburgh, Glyndebourne, Hong Kong, Santa Fe, Wiener Festwochen, etc …

He is the heir of the tradition of Gérard Souzay. His repertoire ranges from baroque to contemporary opera: Monteverdi (Ulysses in “Il ritorno d’Ulysses in patria”) , Baroque French opera (Rameau: Pollux in “Castor and Pollux”, Gluck: Orestes in “Ifigenia in Tauride”), all the roles  for Mozart’s baritone (Don Giovanni in the opera of the same name, Papageno in “Magic Flute” , Guglielmo in “Così fan tutte” , Almaviva in “The Marriage of Figaro”), Italian opera (Rossini: Figaro in “The Barber of Seville”, Dandini in “La Cenerentola”, Donizetti: Belcore in “L’elissir d’amore”, Malatesta in “Don Pasquale”, Puccini: Ping in “Turandot”, Marcello in “ La Bohème”), French opera (Berlioz: Corebo in “The Trojans”, Gounod: Valentin in “Faust”, Mercutio in Romeo and Juliet, Massenet: Athanaël in Thais, Albert in Werther, Ravel: Ramiro in Spanish Hour, Carillon and Cat in The boy and the sorceries), German opera (Strauss: Barak in The Woman Without Shadow, The Barber in The Silent Woman), operetta (Offenbach: Calchas in The Beautiful Helena, General Boum in La grande-duchesse de Gérolstein). Important contemporary composers have written works for him: Henze, Lutosławski, Takemitsu …

A separate mention deserves his interpretation of the role of Pelléas in “Pelléas and Mélisande” from   Debussy. He sings it for the first time in 1985 at La Scala in Milan under the direction of Claudio Abbado (he would record it with the same director four years later), and it means for him his international recognition. He has come to be critically qualified as the most important Pelléas since Jacques Jansen. Since 1997 he has also included Golaud’s role in the same opera, performing at the Paris Opera on the centenary of the play (2002) and his stage debut in Russia (Moscow, Stanislavski-Nemirovich-Dánchenko Theater, May Of 2007), reaping in both a great success of critic and public.

Another important aspect of his repertoire is the cultivation of the lied (Schubert, Schumann) and, above all, the French mèlodie (Debussy, Poulenc, Ravel, Duparc …), of which he has become a world reference. He has performed and recorded numerous recitals, considered to be critically important, with pianists such as Jeff Cohen, Graham Johnson, Noël Lee, Pascal Rogé, Roger Vignoles … On the interpretation of the French melodie has written a book (with the participation of Romain Raynaldy) ,” Le Chant intime – l’interprétation de la mélodie française”, which has earned him the René Dumesnil 2004 award from L’Académie des Beaux Arts. In concert  he has wonderful  interpretations of oratorios and vocal music like the “Infancy of Christ” of Berlioz and, more recently, “The song of the Earth”, of Mahler.

In 2006 he was a singing teacher at the Ravel Academy in Saint-Jean-de-Luz. He also lectures at the Sibelius Academy in Helsinki, at the French Institute of Tokyo, at the Canto Superior School in Madrid and at the Francis Poulenc Academy in Tours. French standard-bearer, François Le Roux holds the title Chevalier of the Order of Arts and Letters in 1996, and was named “Musical Personality of the season 1997-1998” by the French Syndicate of Musical and Dramatic Criticism.

He currently serves as Professor of voice of ​​the École Normale de Musique  Paris Alfred Cortot.