After studying literature at the University of Rouen and then Art History at the École du Louvre, Marie Gautrot joined the Conservatoire National Supérieur de Musique (CNSM) in Paris.

Season 2024/2025 includes : Carmen at the Opéra National d’Estonie, La Femme du Garde-Chasse / La Chouette (The Cunning Little Vixen) at the Opéra de Paris, Dalila as well as Albine (Thaïs) in Saint-Étienne, and Mère Jeanne (Dialogues des Carmélites) at the Théâtre des Champs-Élysées.

Gautrot has performed in roles such as Djamileh in Bizet’s Djamileh at the Théâtre Impérial de Compiègne, L’Opinion Publique (Orphée aux Enfers) at the Festival d’Aix-en-Provence, Cherubino (Le Nozze di Figaro) at the Opéra de Versailles, Marie (L’Enfance du Christ) at the Opéra d’Avignon, Carmen at the Radiant in Lyon, Marguerite (La Damnation de Faust) at the Théâtre du Châtelet and the Opéra de Rouen, Ramiro (La Finta Giardiniera) and Dorabella (Così fan tutte) at the Opéra de Toulon, Amneris (Aida), Nicklausse (Les Contes d’Hoffmann) in Grenoble, Maddalena (Rigoletto) at the Opéra de Limoges, La Voix de la Mère (Les Contes d’Hoffmann) in Tokyo and at the Opéra de Lyon. She has also appeared as Giovanna (Rigoletto) and Emilia (Otello) at the Opéra National de Paris, Clairon (Capriccio) and Madame Larina (Eugene Onegin) at the Opéra de Metz and the Opéra de Reims, Prince Orlofsky (Die Fledermaus) at the Opéra de Marseille, Albine (Thaïs) at the Opéra de Monte-Carlo and the Théâtre des Champs-Élysées, Azucena (Il Trovatore) at the Festival de Linière, as well as La Mère (Hulda by César Franck) in Liège.

In concert, she has performed 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 (recording with Les Arts Florissants).

Recently, she has performed Fenena (Nabucco) at the Opéra de Marseille, Madame Quimper-Karadec (La Vie Parisienne) at the Capitole de Toulouse and the Opéra de Limoges, Catarina (Fausto by Bertin) at the Théâtre des Champs-Élysées, La Nonne (La Nonne Sanglante by Gounod) at the Opéra de Saint-Étienne, as well as La Marquise de Berkenfield (La Fille du Régiment) at the Opéra de Monte-Carlo. She achieved great success with her first Dalila (Samson et Dalila) at the Opéra d’Avignon.