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Clémence poussin

Voice Type:

Mezzo-Soprano

Nationality:

French

Country:

Belgium

Languages (fluent):

English, German, French

"le plateau de Macbeth permet d’apprécier toutefois la prestation incisive du baryton Elchin Azizov dans le rôle-titre et la voix ravissante et fruitée de Clémence Poussin, lors des quelques brèves interventions de la suivante de Lady Macbeth." (2018)

„Attention toutefois, on ne l’entend qu’au moment où Lady Macbeth plonge dans la folie, mais cela est suffisant pour être captivé par la fraîcheur et la délicatesse charmante du chant de Clémence Poussin, un éclat de luminosité inattendu dans cet univers de noirceur. „ (2018)

"Le procédé fonctionne admirablement et confère grandeur et noblesse aux interventions d’un Jeune Chœur de Paris aux voix limpides et fraîches, d’où se détache le chant stylé de Clémence Poussin qui cumule les rôles fusionnés de la première et de la deuxième prêtresse." (2015)

After obtaining a bachelor degree in German, Clémence Poussin decided to enter the Département Supérieur pour Jeunes Chanteurs de Paris. During her training, she sang the parts of Queen Clémentine in Jacques Offenbach’s operetta „Barbe-Bleue“, of Orfeo in Gluck’s Orfeo ed Euridice, and of Livia in A. Caldara’s Il Giuoco del Quadriglio. After graduating, she entered the Cologne University of Music in October 2015, in order to work with Brigitte Lindner.

Having always been drawn to the poetry and the artsong repertoire, she is passionate about the music and personalities of Francis Poulenc, Arthur Honegger, Hanns Eisler, Arnold Schönberg and George Crumb. In the context of the Preludes of the Orchestre de Paris, she performed, in April 2015, Tchaikovsky’s cycle of Six Romances, Op. 73 in the main hall of the Philharmonie de Paris.

In December 2015 she was invited to take part in the French version of the opera „The way back home“ by Joanna Lee at the Bastille Amphitheatre alongside artists from the Academy of the Paris Opera. She recently sang the parts of the forester’s wife, of the green woodpecker and of the owl in Janacek’s The Cunning Little Vixen at the Bastille Amphitheatre.

Since October 2016, she is artist in residence at the Queen Elisabeth Music Chapel under the direction of José van Dam. As member of the Lyon‘s opera studio this season, she will be performing Lady Macbeth‘s maid in Verdi‘s „Macbeth“.


In 2019, she will take part in the creation „Le silence des Ombres“ written by the french composer Benjamin Attahir and inspired by Maeterlinck in La Monnaie.

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