© Sophie Kilian

At just 30 years old, the mezzo-soprano Axelle Saint-Cirel already possesses the makings of a great singer: a deep timbre, technical mastery, and a magnetic stage presence, forged by twenty years of hard work and a demanding career. Winner of the Voix des Outre-mer competition in 2023, she was propelled into the spotlight in July 2024 when her rendition of La Marseillaise, sung on the roof of the Grand Palais during the opening of the Olympic Games, captivated the nation and far beyond. Since then, projects have followed one after another, without diverting her from her operatic path. The mezzo-soprano is capable of moving seamlessly from one repertoire to another while maintaining a clear identity. She sees this success as a responsibility. For Axelle Saint-Cirel aspires to become, in turn, a role model. Just as Jessye Norman was for her, reminding her that excellence is achieved through discipline, hard work, and self-esteem, far more than through origin or skin color.

Other

“As cliché as it may sound, what inspires me most is humanity. As a child, I spent a great deal of time observing others—on public transport, at school, listening to my teachers, during breaks, or even when I was bored. I allowed myself to do nothing, simply to observe, in a kind of silent learning. There is something profoundly universal about observing others: they are always just a tiny version of ourselves. Humans inspire as much through their beauty as through their imperfections. In my eyes, the essence of our adventure on Earth is to grow and do good for those around us. This is also why I chose music: it allows me to hope and to give the best of myself, to my loved ones as well as to the public. Observing others nourishes my artistic practice. Even in everyday life, especially when traveling, I continue to be amazed.” Yesterday, in a restaurant where I was waiting for a takeaway coffee, I noticed a little boy in his stroller, absorbed by the world around him. Like me, he was observing with immense curiosity. I thought to myself, "There you go, you have the same look as a three-year-old!" At that age, limited by walking and speech, vision becomes the primary tool for learning. His posture, motionless in the stroller, made me smile: we shared the exact same gesture of observation. Our eyes met, and he gave me a small, almost conspiratorial nod. In an age saturated with information, accepting to step back often allows us to perceive more subtle, more precious details.

"Stand Up Straight and Sing" by Jessye Norman

“Jessye Norman’s autobiography is my bedside book. Reading it was a turning point: it showed me that beyond skin color or origin, it is discipline, hard work, and self-confidence that allow one to achieve excellence. I often think about the impact a simple gesture can have: singing with her hair down, free of any constraints, at the Olympic Games, for example, touched spectators but also children, young girls… I still receive messages from parents who tell me that their daughter has chosen the same hairstyle for the start of the school year. This recognition of a role model motivates me to embrace my own: to remind everyone that it’s not just about image, but about artistic excellence and vocal mastery acquired over twenty years, in eight languages ​​and across diverse repertoires.” My personal journey, spanning Malaysia, the Caribbean, mainland France, learning English, Chinese, Spanish, and then the operatic repertoire in Italian, German, and Latin, has given me an open ear and a constantly stimulated curiosity. This year again, between tributes to Sylvie Vartan, the Victoires de la Musique awards, and concerts for the Women's Foundation, I wanted to show that it's possible to combine different musical worlds while remaining fundamentally an opera singer. Like Jessye Norman, who moved from gospel to opera, I hope to become a role model, not only through my voice, but also through the image of an artist capable of fully embodying her identity. Moreover, seeing Jessye Norman on the cover of this book, in a tricolor dress singing the Marseillaise, and then experiencing a similar moment myself, strengthened this connection. The image resonated: many drew parallels between her and me. This reinforced my belief that I had chosen the right reference, an artist who has been unanimously praised for her exacting standards and immense talent.

The Petronas Towers in Kuala Lumpur

“For me, the Petronas Towers in Kuala Lumpur symbolize human genius in all its splendor. Between the ages of two and eight, I grew up in Malaysia. Visiting these towers, I remember realizing for the first time that humankind could accomplish grandiose things, create immense works. Airplanes, rockets, satellites, the Internet… everything was born from an idea made concrete, inscribed in matter. This memory marked my realization: nothing is too great to be impossible.”

© Sophie Kilian

"Inception", "The Matrix", "The Truman Show" and "The Fifth Element"

“These four films deeply inspire me. They all feature characters who, at some point, discover that there is a reality beyond the one presented to them. This ‘trigger’ changes everything: it opens up other dimensions, other alliances, a new way of seeing the world. I recognize myself in this process. My journey has been shaped by multiple factors (Asia, France, music, theater…) which have sometimes been misunderstood. And, as in these films, I have often moved forward thanks to a turning point, at the moment I was ready to take the next step. Fear has always accompanied these stages, but I have learned to transform it into an ally. The Olympic Games are a case in point: fear of exposure, fear of being judged, fear of standing out. Yet, by accepting this fear, I found the strength to remain true to my identity as a multi-vocal opera singer, capable of moving from one repertoire to another without losing my own voice.” What these films teach me is that it's not about Marvel-style superpowers, but about the human capacity to see beyond what is presented. With our limitations, our emotions, and our vulnerabilities, we can transform the unknown into a space for creation.

The Louvre and the Department of Sculpture

“When I was a student, I took advantage of the free admission to Parisian museums for those under 26. When I first arrived in Paris, I spent all my free time at the Louvre, exploring the galleries at my leisure, without having to wait in line. My favorite place? The marble sculpture department. I love things that are highly aesthetic, and marble has something fascinating about it: it already contains what doesn't yet exist. In a solid block of stone, the sculptor intuits what he will create. A sphere, a face, a bust, a nymph… each form is hidden within the raw material. This transformation of the solid into the living is incredible. The drapery seems real; the cold material comes alive under the artist's hand. There's this striking contrast between the cold white of the marble and the extreme sensitivity that the sculptor breathes into it.” A work like Lorenzo Bartolini's "Nymph with a Scorpion" is a perfect example: at first glance, a woman is holding her foot, but a small scorpion is hidden beneath her leg. If you don't look closely, you miss all the subtlety and meaning of the work. That's exactly what inspires me in music: the details, sometimes minuscule, carry the meaning of the whole. Every nuance, every tiny element, can completely transform the experience. As with these sculptures, you just have to look in the right place for everything to make sense.

The Spectre of the Rose by Hector Berlioz

“Hector Berlioz set a poem by Théophile Gautier to music in his opera ‘Les Nuits d’été’ (Summer Nights), where a rose speaks to the man who picked it and slipped it into his pocket. This simple gesture, which leads to the flower’s death, is both tragic and profoundly beautiful: the rose rejoices in having shared this moment with humankind. I recently performed it in Geneva, at Victoria Hall, with the Orchestra of Nations, during a screening of excerpts from Yann Arthus-Bertrand’s film ‘Our Home,’ highlighting the importance of the planet and its preservation. Next stop: Stuttgart, with the German Philharmonic. I’ve been working on this aria for fifteen years; it accompanies me like a reflection on life, beauty, and fragility.” This poem and its melody reveal the complexity of humankind: the temptation to pick a rose because it is beautiful, the act that condemns it, and yet the innocence of the flower, which reproaches nothing. Berlioz's music amplifies this simplicity and depth, offering the singer and the audience a moment of pure beauty.

Where can you see and hear Axelle Saint-Cirel next?

January 18: Recital 2026 at the Equinoxe in Châteauroux
January 24: "Amazing" at the Châtelet Music Club
March 25 to April 2, 2026: "The Magic Flute" at the Bordeaux Opera House
April 13, 2026: "Opera for Peace" at the Eiffel Tower
June 22-30: "Porgy and Bess" at the Théâtre des Champs-Élysées