Amongst his achievements there, he set up the relay of opera from Glyndebourne and Covent Garden.
It will have an overall height to blade tip of 70m, about half as high as Heathfield Television Mast, a few miles away.
He was also coach at Glyndebourne Opera, working on Fidelio, Alceste, The Rake’s Progress, Arlecchino, many Rossini and all the Mozart operas.
In March 1947 she became a founder member of Benjamin Britten's English Opera Group, singing Britten roles at Glyndebourne, Sadler's Wells, Lucerne, Scheveningen, Oslo and Copenhagen as well as the company's home base at Aldeburgh.
Alexander has sung with companies in Buenos Aires, Vienna, Brussels, Canada, Copenhagen, Paris, Athens, Bayreuth (Beckmesser in Wieland Wagner's Die Meistersinger, 1963), Berlin, Cologne, Frankfurt, Hamburg, Munich, Stuttgart, Florence, Mexico City, Basel, Geneva, Zurich, Edinburgh, Glyndebourne, Baltimore, Boston, Chicago, Cincinnati, Fort Worth, Hartford, etc.
He directed his wife, Nancy Evans, in the role of Lucretia in the 1946 premiere of Britten's opera The Rape of Lucretia at Glyndebourne, and later succeeded Peter Pears as director of the Aldeburgh Festival.
He died after a heart attack at the age of 63 in 2005, while driving home from a performance of Verdi's Otello at Glyndebourne.
As well as Paris, she sang frequently in the French provincial houses, as well as at the Festivals of Aix-en-Provence, Edinburgh, Glyndebourne and Holland, and in Rio de Janeiro, Buenos-Aires, Lisbon and London.
He is best known for his roles as Freddie Eynsford-Hill in Peter Hall's Pygmalion at the Old Vic and internationally and Lysander in Jonathan Kent's The Fairy-Queen at Glyndebourne.
Her first important opera role was Lucretia in the 1946 Glyndebourne production of Britten's The Rape of Lucretia.
As a team Alarie and Simoneau gained celebrity in Europe and were invited to all the major festivals, Aix-en-Provence, Salzburg, Glyndebourne, Edinburgh, as well as major opera houses such as Vienna and Munich.
She appeared in roles of Mozart's operas, such as Pamina in The Magic Flute (at the Salzburg Festival 1991 and recorded with Georg Solti), Servilia in La clemenza di Tito (recorded with Nikolaus Harnoncourt) or the Countess in Il nozze di Figaro in Glyndebourne and with the Zurich Opera.