After studying German language and literature at university, Clémence studied at the Département Supérieur pour Jeunes Chanteurs in Paris, before continuing her training at the HfMT in Cologne.
In the 2015/2016 season, she took part in the French premiere of Joanna Lee’s The Way Back Home (Vol Retour) at the Bastille in Paris, and joined artists from the Opéra de Paris Academy in performances of The Cunning Little Vixen, singing the roles of the Forester’s Wife, the Woodpecker and the Owl.
Following on from that, between 2016-9, Clémence joined the Chapelle Reine Elisabeth in Belgium, where she was artist in residence, working with José van Dam and Jocelyne Dienst as Aritstic Directors. During that period, she was also a member of the Studio at the Opéra de Lyon, making her debut as the Lady-in-waiting in Verdi’s Macbeth, continuing her relationship with the theatre in the roles of Concepción L’Heure Espagnole, Polia in Tchaikovsky’s The Sorceress and L’Enfant in L’Enfant et les Sortilèges (both in Lyon and at the Royal Opera House, Muscat in Oman).
Her other recent roles include Bellangère and Marie in a triple-bill by Benjamin Attahir at La Monnaie in Brussels, and Consuelo in John Adam’s genre-defying I was looking at the ceiling and then I saw the sky at the Théâtre de la Croix Rousse in Lyon. She also returned to the Opéra de Lyon to sing Concepción L’Heure Espagnole, and, for the same theatre, will be part of the cast for a new work by Isabelle Aboulker, Enfants du Levant.
Most recently, Clémence has sung Rosette Manon for the Opéra de Lyon and at the TCE in Paris.