Mezzo-soprano Katia Ledoux on Le lacrime di Eros
With her nomination for a 2024 Opera Award in the ‘Rising Star’ category, it’s official: mezzo-soprano Katia Ledoux is one of the most exciting and versatile artists of her generation.
This is evident from the wide variety of roles she has performed at Dutch National Opera. She made her debut in 2019 as Geneviève in Debussy’s Pelléas et Mélisande, returning later for Rossini’s Petite messe solennelle and no less than two world premieres: in 2021, she created the role of Makuba in Neo Muyanga’s How Anansi Freed the Stories of the World, and in 2022, the role of Proserpine in Manfred Trojahn’s Eurydice – Die Liebenden, blind. This season, she returns for Le lacrime di Eros, where she will sing not the newest, but rather the oldest opera music. She will also reprise her role as Makuba in Anansi.
What’s the difference between singing new music and existing repertoire?
“In a new opera, we often receive the music quite late, as the composer is still in the process of creating it. I think this makes some singers hesitant about contemporary music. You have to absorb new, extremely challenging music and embody it vocally in a short amount of time. Even during rehearsals, composers can make significant changes to the score. But there are certainly advantages, too. For one, you get a role that is tailor-made for your voice. And if something isn’t quite working, you can always discuss it with the composer. That’s a luxury you don’t have with dead composers.”
“Another major difference is the expertise. With a world premiere, you’re the very first person to sing the work. Your interpretation essentially sets the standard. With established repertoire, you’re dealing with a long performance history that you have to consider. For Le lacrime di Eros, I’ve consulted with several early music experts. In working sessions and discussions, we delved into performance traditions, historical context, and expectations surrounding these early compositions. I’ve learned so much from this.”
How would you describe the music you sing in Le lacrime di Eros?
“In two words: ‘simple’ and ‘heartbreaking.’ Le lacrime di Eros takes us on a journey through the very beginnings of opera. Many of the instruments we’re accustomed to today didn’t exist back then, so much of the richness we often associate with opera is absent in these compositions. However, these composers had an incredible ability to tell spectacular stories. The text takes centre stage, and the use of dissonance makes this early Italian music incredibly sensual and moving.”
Katia Ledoux
“I rushed to the audition and gave everything I had.”
What are you most looking forward to in Le lacrime di Eros?
“Raphaël Pichon and Romeo Castellucci are among the most exciting artists in the international opera scene. Their vision and approach are groundbreaking – they change the way audiences hear and experience music. They do this with a keen eye for intense beauty and meaning, but also with a great deal of boldness. The mashup they’ve conceived using music by little-known early Italian opera composers is daring, and in my view, quite ‘punk’! When I heard about this project, I didn’t hesitate for a second. I rushed to the audition and gave everything I had. I’m convinced that Le lacrime di Eros will be stunning and groundbreaking in every way.”
“What I’m also really excited about is collaborating with soprano Jeanine De Bique, who is also singing in this production. She’s my ultimate voice crush – I could talk for hours about how fantastic her voice and interpretations are. The fact that I’ll be sharing the stage with her and hearing her sing every day during rehearsals is a dream come true for me!”
Later this season, you’ll return as Makuba in How Anansi Freed the Stories of the World. What makes this opera so special to you?
“As a child of the African diaspora, I was repeatedly told during my studies that opera is a ‘white’ art form. So, it was a healing experience for me to work with a predominantly Black cast on a story that exists in so many versions across the diaspora. Anansi is a well-known character on the African continent but is also widespread in the Caribbean and Suriname. The fact that these stories thrived despite the slave trade and centuries of oppression is a powerful testament to the resilience of our cultures. Additionally, this was the first opera by a Black composer to be performed on Dutch National Opera’s main stage, which added another layer of historical significance to this already important production.”
Katia Ledoux
“Dutch National Opera is the house where my career began.”
In How Anansi Freed the Stories of the World, you sing in Dutch, a language you don’t speak. Was that a big challenge?
“I probably worked harder on my Dutch pronunciation for How Anansi Freed the Stories of the World than for any other opera in a foreign language. It’s a family opera with Dutch-speaking children as a key audience. They are a critical audience that doesn’t quietly read the surtitles. Children respond instantly to what they hear, and it has to be understandable. Fortunately, I’m fluent in French, German, and English, so my knowledge of those languages has helped me a lot with understanding and singing Dutch.”
You’ve performed many times at Dutch National Opera in recent years – in Pelléas et Mélisande, How Anansi Freed the Stories of the World, and Eurydice – Die Liebenden, blind, among others. Is there one experience that stands out the most?
“That’s a tough question because I’ve had so many fantastic experiences here. Dutch National Opera is the house where my career began. I clearly remember auditioning for the role of Geneviève in Pelléas et Mélisande. I had just learned in school that sometimes auditions are more about introducing yourself to a casting team and gaining audition experience rather than securing a specific role. So, I went in mostly for the experience, with no real expectations. I thought that before getting a role, you had to at least finish your conservatory studies and gain experience in a young artist programme, right?”
“Well… director Sophie de Lint and head of artistic affairs Damià Carbonell Nicolau had other plans. To my astonishment, I got the role and was suddenly sharing the stage with established stars like Elena Tsallagova, Paul Appleby, and Brian Mulligan. And to top it off, I had the Royal Concertgebouw Orchestra conducted by Stéphane Denève in the pit and a production directed by Olivier Py! It was a dream start to my career, straight out of a fairy tale!”
Why do you love coming back to the Netherlands so much?
“On paper, I may not be Dutch, but I’ve had so many formative experiences here: from winning the Press Prize at the International Vocal Competition (IVC) in ’s-Hertogenbosch to performing in a beautiful little church in Zaandam with the mega-star Lucie Horsch. I’ve also met many important people in my life here. Performing in the Netherlands feels like coming home. And as for Dutch National Opera: I feel seen and understood by this house. For young singers, there’s a risk of being typecast, only being asked to perform certain roles in specific styles. But Dutch National Opera has always recognised my versatility and offered me a wide range of opportunities. I love this house. I love the people here. And I feel loved in return.”
Text: Laura Roling
Katia Ledoux will perform in Le lacrime di Eros from 15 to 21 November 2024, and will return to the stage from 16 to 25 May 2025 in How Anansi Freed the Stories of the World.
