Myriam Arbouz


Hailing from Brittany, Myriam Arbouz joined the Maîtrise de Bretagne at the age of eight, developing her passion for singing with Jean-Michel Noël, and participating in numerous concerts, recordings and tours.


She pursued studies in musicology at the University of Rennes whilst also studying with Martine Surais at the Rennes Conservatoire, followed by advanced studies at the Centre de Musique Baroque de Versailles with Olivier Schneebeli and at the Conservatorium van Amsterdam with Valérie Guillorit and Sasja Hunnego, earning her Master's degree in 2013 with brilliant grades at the latter institution.


During two seasons at the Dutch National Opera Academy, Myriam Arbouz performed several roles in operas: L'Enfant et les sortilèges by Ravel (La Libellule, Le Pâtre), Where The Wild Things Are by Oliver Knussen (Mama) conducted by Antony Hermus at the Orpheus theatre in Apeldoorn, De Singel in Antwerp, the Anton Philips Hall in The Hague, Vredenburg in Utrecht, De Doelen in Rotterdam. Furthermore Mozart's La Finta Giardiniera (Aminda) at the Regentes Theatre in The Hague, Less Truth More Telling by Thierry Tidrow (Mother) and Stravinsky's Pulcinella in The Hague; Le Nozze di Figaro by Mozart (Cherubino) conducted by Richard Egarr.


An avid performer of chamber music, Myriam Arbouz performs regularly in duo with harpsichordist and organist, Benjamin Alard.


Myriam Arbouz commands a vast repertoire ranging from the baroque period, which she particularly cherishes, to the most recent contemporary creations and appears regularly with many famous European ensembles including Pygmalion, Le Concert d'Astrée, Cappella Amsterdam, Aedes, Die Kölner Akademie, La Rêveuse, Fuoco e Cenere, L'Aura Rilucente, Ensemble Schönbrunn.


Recent highlights are Euridice (Orfeo) and Ottavia (L’Incoronazione di Poppea) under the baton of René Jacobs at Royaumont Abbaye, Cassiope and Mérope in Lully’s Persée at Copenhagen Early Music Festival.

In February 2015, Myriam Arbouz made her debut appeareance at the Dutch National Opera in partnership with the Festival d’Aix-en-Provence in Trauernacht, a production based on Bach funeral cantatas, staged by Katie Mitchell and conducted by Raphaël Pichon.


Her upcoming performances are Anna-Magdalena Bach’s book with harpsichordist, Benjamin Alard, at the Hôtel de Soubise in Paris, Trauernacht in Arras, Douai and Lisbon, and a recording of Schubert, Schumann, Wagner & Brahms with Pygmalion for Harmonia Mundi.