© Michael Pöhn

„To what stances can human voice take us when its accents raise? Where?
Do the heavens vibrate from hearing it? Do they?

Or could it be carried away forever by a wind that nothing would hold?“
(Rainer Maria Rilke, Chant éloigné).

Everything sings to me when words are no longer enough!

As a child, I used to sing my way to bed, to digest, to bear my motion sickness, face up with school, survive holidays, seduce my first love, make people laugh, spread nostalgia and my joy at the seashore of my native Brittany. Singing as always been my gear, helping me to grow up, to gain self-confidence. As far as I can remember, my heart was always drown to things and people first through their sounds and voices.

As a teenager, I coud have simply forgotten to breath as I used to listen the sulfurous and low voice of Greta Garbo as Marguerite Gauthier. Thanks to her, I discovered Verdi’s Traviata and the immense range of sentiments on a live stage. I then realised how I wanted, just like her, to sing stories, communicate dispair and joy.

I now every day fill up my soul and my heart with this unchanged enthousiasm. Singing is an act of peace bringing together all nationalities and make me keep faith in the future of our world.
My love for theater, languages, humanity, discipline, for life through music, permanently seeking the most honest serving of a text,… Who knows? I might as well manage to make you forget to breath for a second? Here is my singing.


© Michael Pöhn

French mezzo-soprano, Juliette Mars started her musical education playing cello from an early age and obtained her certificate of end of Studies in 1999 with Roland Pidoux.
She graduated in voice from the Conservatoire National Supérieur de Musique of Lyon (France) and the Schola Cantorum in Paris. She has studied with Jacqueline Bonnardot, Tom Krause and Yvonne Minton.
She was invited to join the Young artists programme at the CNIPAL in Marseille from 2003 to 2005 and was distiguished in many international singing competitions, such as « les voix nouvelles » and Operalia.
Juliette made her début on stage in 2000 in Saint-Etienne (France) performing the role of Gala in Roma by J.Massenet. She was then invited again to sing the part of the second Lady in the Magic Flute. She was also heard as Marie-Louise in L’Aiglon by A.Honegger and J.Ibert at the opera of Marseille.
As a Young artist at the CNIPAL, Juliette made her début as Angelina in La Cenerentola by G.Rossini, conducted by Dominique Trottein. In 2009, she was Nicklausse and the Muse in les Contes d’Hoffmann at the Nice opera house where she also performed the part of the cook in Rusalka, conducted by Claude Schnitzler.
She then received an immense success with the critic as Carmen with Opera en plein air, in 2010. Juliette sang the role of the second lady in the Magic Flute at the Théâtre des Champs Elysées in 2011 and more recently performed the leading part of Hänsel in Hänsel und Gretel by Humperdinck at the Wiener Volksoper during the season 2014/2015. In February 2016 she sang for the first Time in the Wiener Staatsoper the Kitchen Boy in Rusalka by Dvorák, conducted by Thomas Netopil, staged by Sven-Eric Bechtolf.
Since 2006, she has performed over fourty different operatic roles, mostly on the stage of the Wiener Staatsoper, as a member of the ensemble. Her repertoire contains characters such as Meg Page (Falstaff), Mercedes (Carmen), Berkenfield (La Fille du Régiment), the governess (The Queen of Spades), Madame Larina (Eugene Onegin), Barena (Jenufa), the second lady (The Magic Flute), Orlowsky (Die Fledermaus), Dryade (Ariadne auf Naxos), Suzuki (Madama Butterfly), Stéphano (Roméo et Juliette), Tisbe (Cenerentola), The Turnspit ( Rusalka)The Page (Salome), Siébel (Faust), Thibauld (Don Carlos), Flower Maid (Parsifal), Flosshilde (Rheingold and Götterdämerung), Second Norn (Götterdämerung), Waklee (La Fanciulla del West), Smeton (Anna Bolena)…

Juliette particulary enjoys singing sacred music and song repertoire.She was greatly honored to perform the « Folksongs » by L.Berio under the conducting of the composer himself in 2005 when she was granted the award of « révélation classique » by the ADAMI.
She is also an internationally successful Lied and concert singer and regulary performs in various festivals, such as the Pablo Casals Festival in Prades (France), and many concert halls throughout Europe…
She sang on February 2016 on the stage of the Wiener Staatsoper the role of the cook in Rusalka under the direction of Tomas Netopil. In fall 2016, she sang with success Nicklausse and the Muse in a new production of les Contes d’Hoffmann, this time in german language, in the Vienna Volksoper, conducted by Gerrit Prießnitz and staged by Renaud Doucet-André Barbe. She sings this Part again in the same Production in the Vienna Volksoper in May 2018. In March 2017 she made her Debut as Dorabella in Cosi fan tutte for the Laxenburgs Castle Festival (conducted by David Aronson and staged by Bernd Bienert ). In July 2017 she experienced with the best Reviews her first contemporary Opera as Hemma in Hemma wrote by Bruno Strobl, conducted by Simeon Pironkoff and staged by Kristine Tornquist for the Carinthischer Sommer Festival.

On the 15th of Oktober 2017 she makes her Debut as Margret in Wozzeck in the Theater an der Wien conducted by Leo Hussain and directed by Robert Carsen. In January 2018, she sings the two Parts of Iglesia and l’esclave in le Tribu de Zamora by Gounod in Munich, conducted by Hervé Niquet. In March 2018 Juliette gives a Recital of Mélodies Françaises with The Vienna Staatsoper pianist Cécile Restier.

In April 2018, for the 200 Gounods Birthday, Juliette sings two Concerts with Gounods Operas extracts and Lieder in Venice in collaboration with the Palazetto Bru-Zane. In the same Collaboration, in June 2018, she will sing Siébel in The first Version of Faust of Gounod in le Théâtre des Champs Elysées, conducted by Christophe Rousset and his Orchestra: Les Talents Lyriques.

In september 2018, Juliette worked for the first time with the Versailles Baroque music Center. In a Concert Version, They record “Hypermnestre” by C.H Gervais conducted by the Gyögyi Vashegyi in Budapest. In November 2018 she is invited with the Baroque Compagnie “Les Epopées” leaded by the rising Conductor Stéphane Fuget in Mexico City to sing a Programme with Composers of the XVI and XVII Century music.

Successful as a Singer, as a vocal Teacher, Juliette Mars is also very requested as a specialized french pronunciation coach for opera Singers in Vienna. On February 26th 2019, she surrounds the Vienna Theater an der Wien’s young artists Programm in the Kammeroper for “l’enfant et les sortilèges” by Ravel. She sings the three parts of the mother, The teacup and the dragonfly (conducted by Raphael Schluesselberg, staged by Barbora Hóraková-Joly). In April 2019 for the third Time in the magnificent Staging by Renaud Doucet and André Barbe, she is back on the Volksoper’s Stage to sing the dual Part of la Muse and Nicklausse in “Hoffmanns Tales”, conducted by Alexander Joel.

In Mai 2019, Juliette has the immense pleasure to be back on the stage of the Theater an der Wien to make her Debut as Titania and Puck in “Oberon” by Weber, conducted by Thomas Guggeis and staged by Nikolaus Habjan. She will be back on this famous stage in September to sing the Kitchen boy in “Rusalka” by Dvorák, conducted by David Afkham and staged by Amélie Niermeyer.

She regulary works with some of the most prestigious conductors in the world such as Christian Thielemann, Franz Welser-Möst, Fabio Luisi, Bertrand de Billy, Peter Schneider, Bruno Campanella, Simon Rattle, Graeme Jenkins, Michael Güttler, Alain Altinoglu, Constantinos Carydis, Friedrich Haider, Frédérique Chaslin, Ivor Bolton, Patrik Lange, Jean-Christophe Spinosi, Christophe Rousset, Jesus Lopez-Cobos, Evelino Pidò, Simone Young, Ingo Metzmacher, Eun Sun Kim, Thomas Netopil, Leo Hussain…


© Michael Pöhn

Owing to her curiosity, Juliette Mars maintains a very diverse repertoire, including classical, clerical and contemporary  music. She believes that every new piece helps her to develop her voice, develop her musical skillset and enrich her performances. Thusly, maintaining such a diverse collection of parts is not contradictory, but rather serves to benefit and enrich her and her performances.

  • Hänsel (Hänsel und Gretel/ Humperdink)
  • Dorabella (Cosi fan tutte/ Mozart)
  • Carmen und Mercédès (Carmen/ Bizet)
  • Nicklausse/Muse (Hoffmann’s Erzählungen/ Offenbach)
  • Smeton (Anna Bolena/ Donizetti)
  • Siébel (Faust/ Gounod)
  • Stéphano (Roméo et Juliette/ Gounod)
  • Suzuki (Madama Butterfly/ Puccini)
  • Küchenjunge (Rusalka / Dvorjak)
  • Flosshilde (Rheingold/ Wagner)
  • Thibault (Don Carlo französische Fassung / Verdi)
  • Flosshilde (Götterdämmerung/ Wagner)
  • Tisbe (Cenerentola/ Rossini)
  • Dryade (Ariadne auf Naxos/ R.Strauss)
  • Berkenfield (Régiments Tochter/ Donizetti)
  • Larina (Eugen Onegin/ Tschakowski)
  • Zweite Dame (Zauberflöte/ Mozart)
  • Meg Page (Falstaff/ Verdi)
  • Frau Reich (Lustige Weiber von Windsor/Nicolai)
  • Margret (Wozzeck/Berg)
  • Zweite Magd (Elektra/ R.Strauss)
  • Drittes Blumen Mädchen II Gruppe (Parsifal/ Wagner)
  • zweite Knape (Parsifal/ Wagner)
  • Stimme von Oben (Parsifal/ Wagner)
  • Rossweisse (Walküre/Wagner)
  • Eine Kranke und die dritte Solo Stimme (Moses und Aron Schönberg)
  • Oktavian (Rosenkavalier/ R.Strauss)
  • Cherubino (Le Nozze di Figaro/ Mozart)
  • Olga (Eugen Onegin/ Tschaikowsky)
  • Charlotte (Werther/ Massenet)
  • Orlowsky (Fledermaus/ J.Strauss)
  • Zweite Norne (Götterdämmerung/ Wagner)
  • Annio (la Clemenza di Tito/ Mozart)
  • Bradamante (Alcina/ Haendel)
  • Mother/Teapot/Dragonfly (l'enfant et les sortilèges/ Ravel)
  • Krista (Makropoulos version tchèque/ Janacek)
  • Der Hund (die schlaue Fuchslein/ Janacek)
  • Bersi (Andrea Chénier/ Giordano)
  • Lola (Cavalleria Rusticana/ Mascagni)
  • Thibault (Don Carlo in italienische Sprache/ Verdi)
  • ein junger Hirt (Tannhäuser/ Wagner)
  • dritte Kinder Stimme (Frau ohne Schatten/ R.Strauss)


  • Actus Tragicus BWV 106:" Christ lag in Todes Banden" BWV 4
  • Messe h-moll BWV 232
  • Wehnachts-Oratorium BWV 248
  • Matthäus-Passion BWV 244
  • Kantate BWV 35 : « Geist und Seele wird verwirret »
  • Kantate BWV 110 : « Unser Mund sei voll Lachens »
  • Kantate BWV 170 : « Vergnügte Ruh, beliebte Seelenlust »


  • Messe C-dur op. 86 Anton


  • Pastoralmesse op 147


  • Regina coeli in D


    • Missa brevis in F Major « Jugendmesse » Hob.XXII : I
    • Missa « Nicolaimesse » Hob. XXII : 6
    • Missa in Tempore Belli « Paukenmesse » Hob.XXII :9
    • Missa in Angustiis « Nelsonmesse » Hob.XXII :11
    • Missa B-Dur « Theresienmesse » Hob.XXII :12


    • Ode for the Birthday of Queen Anne HWV 74


    • Messe Es-Dur op.80


    • Requiem in d-moll KV 626
    • Sub tuum praesidium, offertorium KV 198
    • Missa brevis in F KV 192
    • Missa in C « Credo-Messe » KV 257
    • Missa in C Major, « Missa solemnis » KV 337
    • Missa in C, « Krönungsmesse » KV 317
    • Missa in C « Orgelsolo-Messe » KV 259
    • Vesperae solennes de Dominica KV 321
    • Vesperae solennes de Confessore KV 339


    • Messe in D-dur


    • Stabat mater


    • Messe in C-dur D 452-op.48
    • Messe in F-dur D 105


© Juliette Mars

Let´s find your voice together, give it life, define it or polish it: an adventure with open heart! My drive: enthousiasm through singing, my pleasure to transmit my art, the passionate search for one´s intimate instrument. through the multiple ways music can offer. Together unfolding our voice, and giving it stamina in a peaceful and healthy manner. Pointing out tensions, taming the fears thanks to precise physiological explanations, a musical line and an honest serving of the text.

I will prepare you for auditions, competitions, getting a first foot in the Conservatoire, recitals and recordings. We will define together your goals and establish a concrete, daily programme in full respect with your unique instrument.

As a French mezzo-soprano, I established myself in Vienna 12 years ago. I started my musical education by studying Cello during thirteen years. I then graduated in singing from the French National Conservatoire in Lyon and the Schola Cantorum in Paris. I sang in the finals of the international world singing competitions „Operalia“ and „Les Voix Nouvelles“. Thanks to my experience, I then entered the prestigious ensemble from the Vienna Opera House where I performed numerous roles over ten years.

I have performed on stage aside international leading singers like Anna Netrebko, Jonas Kaufmann, Nina Stemme, Ludovic Tézier, Bryn Terfel, Véronique Gens and Roberto Alagna, as I have been able to broaden my repertoire at the highest level on international stages like the Wiener Volksoperm the Theater an der Wien and also festivals of contemporry music, the Théâtre de Champs-Elysées in Paris, the Concertgebow of Amsterdam, The Bavarian Radio, The Palazetto Bru-Zane of Venice. I also sing sacred music on a regular basis in churches like Saint Augustinus and the Stephans Dom in Vienna.

Since I started my career, I have already sung over 45 roles and collaborated with worlwide renowned conductors, such as Christian Thielemann, Marco Armiliato, Peter Schneider, Fabio Luisi, Bertrand de Billy, Leo Hussain, Simon Rattle… But also directors like Peter Konvitschny, Christophe Loy, Robert Carsen and Marco Arturo Marelli… These artistic collaborations feed my work and help me find a permanent regenerated inspiration for my vocal work. The freshness of the voice and delivering true feelings are my main objective.In parrallel to my singing career, I give regular workshops and coachings on French pronunciation for solo and choir singers in various Opera houses.

Just like any other singer, I have already experienced vocal fatigue and doubt. Singing is life. Singing is passion and a source of permanent self achievement. Healthy singing will help you get back on your feet. Your first singing lesson shall be free of charge.
Fee: 50€ per hour
Student fee: if 10 lessons booked , 20% discount (40€ per lesson)
French pronunciation coaching: 35€ per hour


You can listen here to some of the good Concert memories of Juliette:

Le Tribu de Zamora, Gounod. Aria of a young slave. Munich Radio orchestra, conducting: Hervé Niquet.

Le Tribu de Zamora, Gounod. Part of Iglesia. Munich Radio orchestra, conducting: Hervé Niquet. 

Tales of Hoffmann, Offenbach.Aria of the Muse, german version “Ich liebe Hoffmann sehr”. Live from the Vienna Volksoper. 

Tales of Hoffmann, Offenbach. Part of the Muse, german version. Recitative: “Die Wahrheit stieg”. Live from the Vienna Volksoper.

Tales of Hoffmann, Offenbach. Violins Aria of Nicklausse, german version: “Sieh wie die Geige Erklingt”. Live from the Vienna Volksoper.

Cosi fan Tutte, Mozart. Aria of Dorabella “E amore un Ladroncello”. Live from Laxenburgs Castle.Conducting: David Aronson. 

Cosi fan Tutte, Mozart. Recitative and Aria “Ah scostati”. Live from Laxenburgs Castle. Conducting: David Aronson.

Clemenza di Tito, Mozart, aria of Annio ” Tu fosti tradito”. Live from a concert in the Vienna State Opera. on the piano: Cécile Restier.

Werther, Massenet. Letters Scene. On the Piano: Jendrik Springer.

Schubert. Die Taubenpost. Live from a concert in the Vienna State opera. On the Piano: Cécile Restier.

Eugen Onegin. Tchaikovsky. Aria of Olga. Live from a Concert in the Vienna State Opera. On the Piano: Cécile Restier.

Quand la nuit n’est pas étoilée. R.Hahn. Live from a concert in the Vienna french institute. On the Piano: Vinzenz Praxmarer.


Ernest Chausson: 7 mélodies op.2, “Nanny”. 3rd of March 2018.

The Part of Wawkle from a Performance of La Fanciulla del west of Puccini. October 2013.

Conductor: Franz Welser-Möst

Billy Jackrabbit: Jongmin Park

Minnie: Nina Stemme

Orchestra: Vienna Philharmonic Orchestra

Hoffmanns Tales, Violin Aria.
Vienna Volksoper.
Conductor:Alexander Joel.
Staging: Renaud Doucet/André Barbe
Hoffmann: Marco Jentzsch
May 5th 2019.
Video: Michael Weber

Vagante´s Aria in “Juditah Triumphans” by Vivaldi. 17th of November 2018.
Piano: Christian Koch






Critical acclaim

Juliette, Bart und Spiegel

© Juliette Mars

Faust, Gounod/ Théâtre des Champs Elysées Paris Juni 2018.

“Juliette Mars donne bien du charme à Siébel.” (Jacques Bonnaure, Opera Magazine).

“De Siébel, Juliette Mars a la fraîcheur sans la mièvrerie.” (Forum Opera).

“Juliette Mars brought her Copper, soprano-isch Mezzo to Siébel, her “faites-lui mes aveux” beguilingly sung.” (Operatraveller.com).

“impeccable Juliette Mars en Siébel.” (D.V.M Asopera.fr).


Le Tribu de Zamora, Gounod/ Prinzregenten Theater München Januar 2018.

“Auf dem Konzertpodium standen die erstklassiger Sänger dazu. Die Sopransüße von Juliette Mars als Xaimas Freundin und ihre Barkarole (…).” (nmz.de).

“La Mezzo Juliette Mars bénéficie dans le rôle d’une esclave d’une superbe Barcarolle au troisième acte” (Forum opéra).

“Ausdrucksstark auch die französische Mezzosopranistin Juliette Mars als Xaimas Freundin Iglesia”. (Neue Merker).


Wozzeck, Berg/Theater an der Wien Oktober 2017.

“Juliette Mars gefiel als gewiefte Nachbarin Margret mit eindringlichem Mezzo”. (Neue Merker).

“Juliette Mars war mit schlanker schöner Altstimme die suffisante Nachbarin Margret”. (Neue Merker).

“Juliette Mars is strongly cast as a slinky, feisty Margret”.(The Opera Critic).


Hemma, Uraufführung, B.Strobl / Stiftskirche Ossiach Juli 2017.

“Juliette Mars begeistert als intensive, selbstbewusste Titelheldin, die ihre Seelenqualen grandios auslotet”. (Kleine Zeitung)

“Unglaubliche Leistung der in jeder Richtung glaubhaften Juliette Mars.” (Kleine Zeitung)


Cosi fan tutte, Mozart/ Schloß Laxenburg 2017.

“Juliette Mars als Dorabella ist großartig und erinnert an eine Krista Ludwig in Bestform” (Neue Merker).


Hoffmanns Erzählungen, Offenbach/ Volksoper 2016.

„Virtuos und wendig wechselt Juliette Mars als mit Goldpatina umhüllte Muse bzw. als Niklaus die Tonfälle“ (der Standard).

„Juliette Mars als Muse/Niklaus spielt gut, singt kultiviert“ ( Kurier).


Hänsel und Gretel, Humperdinck / Volksoper Wien 2014.

“Juliette Mars als Hänsel bietet viel: ein burschikose Spiel, eine schontimbrierte Stimme, Musikalität, Piano und Forte.”
(Neue Merker)

“Als burschikoser Lauser von leicht herben Zuschnitt gelingt Juliette Mars ihr erster Hänsel”
(die Presse)


Don Carlo, Verdi / Wiener Staatsoper 2013.
“Juliette Mars ist ein temperamentvoller Thibault”
(Kronen Zeitung)

L’Italiana in Algeria, Rossini / Wiener-Staatsoper 2013.
“The Comprimario parts were exquisitely cast, with the Ladies (Ileana Tonca as Mustafa’s wife, and Juliette Mars as her Servant Zulma) singing ravishingly”

Anna Bolena, Donizetti / Wiener Staatsoper 2013.
“Juliette Mars (als Einspringerin für die erkrankte Zoryana Kushpler), war hervorragend als der in Anna verliebte Page Smeton.”
(Kronen Zeitung)

“Für die kurzfristig erkrankte Zoryana Kushpler sprang am ersten Abend das Ensemblemitglied Juliette Mars verlässlich als naiv verliebter Smeton ein.”
(Wiener Zeitung)

Faust, Gounod/ Wiener-Staatsoper 2012.
“Juliette Mars als Siébel füllt ihre Partie recht solide aus”.

“Ein vokaler Lichtblick war in jeden Fall aber Juliette Mars als Siébel.”
(der Standard).

“Juliette Mars sucht und findet als Siébel Ausdruckskraft in Details”
(Wiener Zeitung)


Madama Butterfly, Puccini / Wiener Staatsoper 2011.
Suzuki played by Juliette Mars came off well. Mars was consistent throughout, providing a mezzo-soprano tone that was rich in the lower ranges and sweet in the top. This allowed her to play a strong Suzuki against Dessi’s Butterfly”
(Christopher R.Skinner, the Passion of Opera Magazine)


Carmen, Bizet / opéras en plein air, France 2010.
“Saluons bien bas la prise de rôle flamboyante de la jeune Mezzo Juliette Mars dans le rôle titre. Non seulement le personnage de la cigarière est pleinement assumé vocalement(…) et toutes les notes sont là, assurées, colorées par le timbre chaud et rougeoyant de la chanteuse, mais il est incarné, vécu, habité pleinement, figure brûlante d’une belle interprète et d’une grande actrice, dans une conception traditionnelle du rôle, sensuelle et séductrice.”


Les Contes d’Hoffmann, Offenbach/ Opéra de Nice 2009.
“Juliette Mars gestaltet die Rolle mit starken Konturen und grossem Engagement. Bisweilen erscheint sie, so im Giulietta Akt, wie eine Rivalin zu Hoffmanns grossen Geliebten. (…).Die Mezzosopranistin Juliette Mars hatte als Muse neben ihrer lebendigen Darstellung auch stimmlich viel zu bieten, eine leuchtende Mittellage. Herrlich dann ihr Schlussmonolog an Hoffmann, der -am Ende mit sich selbst im Reinen- in den Orchestergraben entschwindet…”
(der Neue Merker)

“La mezzo Juliette Mars, qui est la musique même, est une magnifique découverte”
(Nice Matin)

“La mezzo-soprano Juliette Mars campe une Muse et un Nicklausse justes et énergiques.Elle sait alterner légèreté et gravité, en particulier dans la sublime scène finale où sa voix se fait porteuse d’une éternelle espérance”
(Nice Premium)


La Fille du Régiment, Donizetti / Wiener Staatsoper 2007.
“Aber auch die beiden kleinen Rollen der Marquise de Berkenfeld (Juliette Mars) und Clemens Unterreiner als Hortensius waren blendend in den kurzen Sequenzen und verdienen höchstes Lob.”


Ariadne auf Naxos, R.Strauss / Wiener Staatsoper.
“Herausragend aus dem Ensemble, Dryade Juliette Mars.”
(Kronen Zeitung)


Juliette Mars works with Helfricht Artists Management. Please contact Mrs. Helfricht for more information: Helfricht Artists

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