After studying modern literature at the University of Rouen and then art history at the École du Louvre, Marie Gautrot entered the Paris Conservatoire (CNSMDP).

She has been heard in roles such as Bizet’s Djamileh at the Théâtre de Compiègne, Public Opinion (Offenbach’s Orphée aux enfers) at the Aix-en-Provence Festival, Cherubino (Mozart’s Le nozze di Figaro) at the Opéra Royal de Versailles, Mary (Berlioz’s L’Enfance du Christ) at the Opéra d’Avignon, Marguerite (Berlioz’s La Damnation de Faust) at the Théâtre du Châtelet and the Opéra de Rouen, Ramiro (Mozart’s La finta giardiniera) and Dorabella (Mozart’s Così fan tutte) at the Opéra de Toulon, Amneris (Verdi’s Aida), Nicklausse (Offenbach’s Les Contes d’Hoffmann) in Grenoble, Maddalena (Verdi’s Rigoletto) at the Opéra de Limoges and the Voice of the Mother (Offenbach’s Les Contes d’Hoffmann) in Tokyo and at the Opéra de Lyon. She has sung Giovanna (Verdi’s Rigoletto) at the Opéra national de Paris, Clairon (Strauss’s Capriccio) and Madame Larina (Tchaikovsky’s Eugene Onegin) at the Opéra de Metz, Orlofsky (Strauss’s Die Fledermaus) at the Opéra de Marseille, Albine (Massenet’s Thaïs) at the Opéra de Monte-Carlo and the Théâtre des Champs-Élysées, the Nun (Gounod’s La Nonne sanglante) at the Opéra de Saint-Étienne, Azucena (Verdi’s Il trovatore) at the Festival de Linière and Emilia (Verdi’s Otello) at the Opéra national de Paris.

In concert she performs works such as Bach’s St Matthew Passion, Verdi’s Requiem, Duruflé’s Requiem, Rossini’s Petite Messe solennelle, Mahler’s Kindertotenlieder and Das Lied von der Erde, Berlioz’s Les Nuits d’été, Beethoven’s Ninth Symphony, Chausson’s Poème de l’amour et de la mer, and Monteverdi’s Madrigals (recorded with Les Arts Florissants).

Recently she has sung the Marquise de Berkenfield (Donizetti’s La Fille du régiment) at the Opéra de Monte-Carlo, Fenena (Verdi’s Nabucco) at the Opéra de Marseille, Catarina (Bertin’s Fausto) at the Théâtre des Champs-Élysées, the title role in Offenbach’s La Belle Hélène at the Festival de l’Osarques, the title role in Bizet’s Carmen at the Estonian National Opera and the Gamekeeper’s Wife (Janáček’s The Cunning Little Vixen) at the Opéra national de Paris.

She enjoyed huge success with her first Dalila (Saint-Saëns’s Samson et Dalila) at the Opéra d’Avignon, a signature role she returns to this season at the Opéra de Saint-Étienne.

Her other projects include four productions of Carmen (title role) – at the Baalbeck Festival (Lebanon), the Trapani Festival (Sicily), in Hong Kong and at the Estonian National Opera – and Geneviève (Debussy’s Pelléas et Mélisande) at the Opéra de Monte-Carlo.