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After completing a preparatory course in humanities (hypokhâgne), a bachelor’s degree in English, and a master’s degree in cultural administration, Armelle decided to dedicate herself to singing. She studied with Caroline Pelon and subsequently with Valérie Millot; under the latter's tutelage, she earned her DEM (Diploma of Musical Studies) in 2016 at the Paris CRR (Regional Conservatory), graduating at the top of her class with unanimous jury acclaim and congratulations.
Passionate about music in all its forms, she rounded out her vocal training by studying baroque singing with Isabelle Poulenard and Stéphane Fuget at the Paris CRR, following a DEM in baroque performance with Noémi Rime at the Tours CRR. She also holds a diploma in Lied and French mélodie, studied under Françoise Tillard and was a laureate of the 2016 "Paris Frivoles", an academy dedicated to opéra-comique and operetta.
During her training and in masterclasses, Armelle also studied under Léa Sarfati, Cécile de Boever, Sara Mingardo, Valérie Guillorit, Alain Buet, Paul Agnew, Claire Lefiliâtre, Regina Werner, Catherine Wyn-Rodgers, Donna Brown, and Hélène Delavault...
Armelle performs with various groups ranging from early music to contemporary repertoire, both as a soloist and an ensemble member, including Le Concert Spirituel, Le Chœur de chambre de Namur, Ensemble Hope, Les Paladins, Akadêmia, Sagittarius, Consonance, and Vox Cantoris, as well as the opéra-comique companies Les Frivolités Parisiennes and Fortunio.
Her early experiences as an opera soloist led her to recently performed the roles of Dido in Purcell’s Dido and Aeneas (conducted by François Bazola), Rinaldino in Galuppi’s Il mondo alla roversa (conducted by Françoise Lasserre), Blanche in Poulenc’s Dialogues of the Carmelites (conducted by Annie Tasset), Orfeo in Rossi’s L’Orfeo (conducted by Stéphane Fuget), and Une Ingrate in Monteverdi’s Il ballo delle ingrate (conducted by Jérôme Corréas), as well as Berenice in Cesti’s Il Tito, Diana and Giove in Diana in Cavalli’s La Calisto, Médée in Salomon’s Médée et Jason, Emma in Maurice Yvain’s Là-Haut, Julia in Messager’s Passionnément, and Babet in Adam’s Le Farfadet...
For the current season, Armelle will sing the roles of Télaïre (Rameau’s Castor et Pollux) and Fiordiligi (Mozart’s Così fan tutte), in addition to solo projects involving oratorio, chamber music, and performance art or theater, notably providing vocals for Macha Makeïeff’s exhibition Trouble Fête alongside composer Christian Sebille.
Armelle also champions the mélodie and Lied repertoire in duo with pianists Aude-Liesse Michel and Jean-Michel Kim, as well as with harpist Caroline Lieby.
Keen on diverse experiences that allow her to explore other facets of her artistic expression, Armelle regularly lends her voice to more hybrid projects, where she speaks, sings, and improvises for performances, theater, or exhibitions.
Rôles chantés en scène :
Solos chantés en concert :
"Finally, Armelle Marq is a superb Dido. Possessing a clear timbre that serves a consistently elegant
and nuanced vocal line, the singer emphasizes the character's humanity over her hieratic nature;
she achieves profound emotion in the Act I aria 'Ah, Belinda, I am prest with torment', delivered
with restrained expressiveness, as well as in her farewell to life, which is marked by a
painful resignation. Moreover, she is deeply moving as an actress: elegant in a magnificent
black gown, she displays a highly expressive face and a gift for simple, touching gestures.
The final tableau, showing the Queen’s body, abandoned and seemingly turned to stone in
Belinda’s arms throughout the chorus 'With drooping wings ye Cupids come, to scatter roses
on her tomb', lingers long in the memory..."
Stéphane Lelièvre, premiere-loge.fr
"Vocal qualities and tonal colors underpin the drama, in the interplay between instruments
and singers, and among the principal characters and the witches alike. This is exemplified
by the female title role, for which soprano Armelle Marq weaves a psychological and vocal
journey rich in nuance. The sorrow of the Carthaginian Queen relies on her deep vocal foundation and dramatic tone,
her passionate outbursts on agile phrasing, clarified with a luminous sheen."
Agostino Trotta, olyrix.com
"Armelle Marq lends Rinaldino her rich, fresh timbre, which she sends swirling through
fluid vocalises atop a refined and subtle vocal line."
Damien Dutilleul, olyrix.com
"Four female singers but three female roles, (...) and the leading roles:
Tullia the sensible (Marie Perbost (...)) and her Rinaldino, her beloved assistant,
the most intelligent and charming of the lot, sung by a woman, Armelle Marq
(and hers is the most beautiful voice, to my mind, especially in one of her great arias
at the end of the second act)."
brigetoun.blogspot.com
"Armelle Marq brings the perfect delicacy to the role of Rinaldino."
Marianne Millet, parolesdopera.com
"Equally delightful, the female roles, in a delightful contrast, give pride of place to the vocal performances.
What a joy to hear the delicate, crystalline soprano voice of Armelle Marq
(Babet, a jilted lover who suddenly turns into something of a man-eater)!..."
François Cavaillès, anaclase.com
"Let us not forget Armelle Marq’s lovely Babet, agile, mischievous, and utterly natural on stage."
Clément Rochefort, La lettre du musicien
"An exquisite score, consisting almost entirely of duets and ensemble pieces
that pose no major vocal challenges; the young artists from 'Les Paris Frivoles',
the academy founded by LFP, shine in their roles, particularly soprano Armelle Marq
and mezzo-soprano Aline Quentin."
Laurent Bury, forumopera.com