The French mezzo-soprano, pianist and composer, Caroline Marçot, first received instrumental and theoretical training at the Ecole Nationale de Musique et de Danse d'Orsay, where she obtained from 1989 to 1995 the Gold Medals in music education, piano, chamber music, analysis and composition, especially in the classes of Christian Accaoui and Alain Weber. She then enrolled at the Conservatoire National de Région de Paris, where she won first prize unanimously in harmony and counterpoint, in the class of Crepy Bernard and a second orchestration prize and a certificate of early solfège. In 1996, she enrolled at the Conservatoire National Supérieur de Musique et de Danse de Paris, where she successively won the prize of analysis, counterpoint and renaissance aesthetics in classes of Alain Louvier, Olivier Trachier and Rémy Stricker She finished composition studies and musical acoustics in classes of Edith Lejet, Yves Henry and Michèle Castellengo. She also holds license in musicology from the Sorbonne.
During her studies, Caroline Marçot added a solid experience of vocal music acquired in the Maîtrise de Radio-France, between 1995 and 1998, then in Jeune Choeur de Paris (Director: Laurence Equilbey), while perfecting her singing with Sylvie Sulle at the Conservatoire Georges Bizet à Paris. In 2000, she joined Les Cris de Paris (Director: Geoffroy Jourdain). She has performed as a vocal soloist and participated in several ensembles, including Akadêmia Ensemble (Director: Françoise Lasserre), Arsys Bourgogne (Director: Pierre Cao) and Le Concert d'Astrée (Director: Emmanuelle Haïm). In 1999 she founded with two friends Viva Lux Trio with the objective to explore and disseminate the three voices repertoire, Renaissance and other eras. She made her first recording: Psaumes huguenots, written in French by Claude Le Jeune (late 16th century, edited 1602-1610). In 2003 she joined the ensemble Mora Vocis based in Nîmes, which is interested both in the medieval music and oral transmission at the contemporary music. Thanks in part to this cooperation, this ensemble, and others in which it participates, invest the places where they perform, by setting a sound space, linked to the acoustics of the place, which leads to draw upon (to "put in counterpoint") architectural space, and will exit the formal framework of the concert. She is also co-director of music (with Charles Barber) of the vocal ensemble (and instrumental) L'Échelle. From 2006 to 2010, she directed the Chœur Cæcilia (the choir of girls) de la Maîtrise de Saint-Christophe de Javel in Paris.
Fascinated by the sound phenomenon in its three dimensions: development, interpretation and perception, it is natural that Caroline Marçot was directerd in 2000 to the composition. Some of her works were created among others by Rachid Safir and Les Jeunes Solistes - for which she wrote a madrigal cycle, performed at the Villa Médici in Rome in July 2000; by Charles Barbier and the Choeur de Femmes de l'Ecole de Musique de Betton at Salon Musicora in April 2001; by Geoffroy Jourdain and Vivete Felici lors de la Nuit de la Voix at Théâtre du Châtelet in May 2001; and by Toni Ramon and Maîtrise de Radio-France in 2002 in Paris.
Even when using instruments, Caroline Marçot's compositions embrace vocality, and are frequently of a polychoral nature, influenced by diverse elements, among which medieval and renaissance polyphonies, as well as Gregorian chant, music by J.S. Bach, Alban Berg, or even traditional references. The lyrics Marçot chooses can be borrowed from wisdom or mysticism from diverse origins. They are enlivened by the intrinsic quality of the chosen language itself, drawn by their universality, the importance accorded to the sense and sensitivity in the interplay between the sounds and the texts. She is preparing the publication of her works with the Jobert Lemoine Editions.
Vocal & Choral Music:
Agnus, for 6-voice choir (2001)
Cantar del Alma, for 3-voice choir (2005)
Crux Lux, for 10 vocal soloists (2001)
Ghazal, for soloists, choir & orchestra (2002)
In Pace, for choir (SSMzATBarB) (2001)
L'Edit du Papillon, for mezzo-soprano, choir & orchestra (2002)
Nemesis, for 12 voices, clarinet & percussions (2004)
Nigra sum, for choir (SSMzATBarB) (2001)
Non, for choir (SMzATB) (2000)
Quetzal, for choir (SSMzATBarB) (2002)