"Whether she is performing on stage at an opera or at a club as a techno queen, Aline Mayne has an amazing voice."

Full article and interview with CMV Music News

"Aline has sung for several New York companies, and did a series of solo shows covering Bel Canto and Bizet to Bernstein with great elan - her "Glitter and be Gay" rivals Kristin Chenoweth, with the satiric tragicomedy underpinned by the pathos of Voltaire's humanism."

Lawrence de Martin, Chief Science Officier, Spectrum NYC.

"One of the most fascinating and unique contemporary artists"



Aline Mayne began studying classical singing in Belgium, her home country, with soprano Laure Delcampe. After moving to New York she studied with Bulgarian bass Valentin Peytchinov and started singing with various New York opera companies. She sang the roles of The Queen of the Night in "The Magic Flute" by Mozart, Olympia in "The Tales of Hoffmann" by Offenbach, and the title role in the world premiere of the crossover musical “Grindr, the Opera”, amongst others. She had a residency at Spectrum, a NYC venue hosting cutting-edge music perfomances, where she sang several recitals including pieces such as the Mad scene from "Lucia di Lammermoor" by Donizetti. She performed at various venues in Europe and North America including Carnegie Hall (NYC), Symphonic Space (NYC), Opera America (NYC) and La Monnaie (Brussels). She is now a permanent resident of the United States and lives in Los Angeles, California.


In addition to singing, Aline was in the the music composition major at the Royal Conservatory of Mons (Belgium) in the class of Claude Ledoux. There, she also played piano in the Conservatory’s orchestra, sang in their choir, and studied classical piano, orchestration, music analysis, 16th century counterpoint, music theory, harmony, sight-reading, ear training, electroacoustic music and improvisation. She also studied classical guitar, church organ and cello at various music academies in Belgium.


Aline also studied drama at the Royal Athenée of Rixensart, Belgium, where she performed in plays such as “The Marriage of Figaro” by Beaumarchais, “Spring Awakening” by Frank Wedekind,  and “Wounds to the face” by Howard Barker. She regularly works as an actress and stuntwoman in films and TV and is also a critically acclaimed singer-songwriter.