Mary of Clopas (or of Cleopas) (Ancient Greek: Μαρία ἡ τοῦ Κλωπᾶ, Maria he tou Klopa) the wife of Clopas was one of various Marys named in the New Testament.

Mary of Clopas is explicitly mentioned only in John 19:25, where she is among the women present at the Crucifixion of Jesus:

Now there stood by the cross of Jesus His mother, and His mother’s sister, Mary [the wife] of Clopas, and Mary Magdalene.

The expression Mary of Clopas in the Greek text is ambiguous as to whether Mary was the daughter or wife of Clopas, but exegesis has commonly favoured the reading "wife of Clopas" (as reflected in above translation). Hegesippus thought that Clopas as the brother of Saint Joseph.

According to some interpretations, the same Mary was also among the women that on Easter morning went to the tomb to anoint Jesus' body with spices. Matthew 28:1 calls her "the other Mary" to distinguish her from Mary Magdalene, while Mark 16:1 uses the name "Mary of James", most probably derived from James the Less. The Latin version of that name, Maria Iacobi, is often used in tradition. Stephen S. Smalley (1982) says that it is "very probable" that Mary of Clopas is Mary the mother of James son of Alphaeus. Both "Clophas" and "Alphaeus" may be Greek spellings of the Aramaic name Hilfai.

Clopas (Greek Klopas Κλωπᾶς; Hebrew possibly חלפי (Halfi); Aramaic חילפאי (Hilfài), is a figure of early Christianity. The name appears only once in the New Testament, specifically in John 19:25:

He is often identified with another figure of a similar name, Cleopas (Κλεοπᾶς), one of the two disciples of Emmaus Luke 24:13-27. There is some variation of the Greek manuscripts in both John 19:25 and Luke 24 as to the spelling Κλ[ε]οπᾶς, and the John "Clopas" is rendered "Cleophas" in the KJV.

The identity of the other women in the parallel passages in Matthew 27:56 and Mark 15:40 is given as Mary Magdalene, "Mary the mother of James and Joses," and "Salome the mother of Zebedee's children" (Matthew), "Salome" (Mark). Luke does not mention the women watching near the cross. The parallels continue again with accounts of the burial. Matthew 28:1 has "Mary Magdalene and the other Mary" with no mention of John's mother Salome, Mark 16:1 has again Mary Magdalene, "Mary the mother of James" and Salome. Luke says "they," John mentions only Mary Magdalene.

Mary (Hebrew: מִרְיָם, Miriam; Aramaic: Maryām; Arabic:مريم, Maryam), variously called Saint Mary, Mother Mary, the Virgin Mary, the Theotokos, the Blessed Virgin Mary, Mary, Mother of God, and, in Islam, as Maryam, mother of 'Isa, was a Jewish woman of Nazareth in Galilee who lived in the late 1st century BC and early 1st century AD, and is considered by Christians to be the first proselyte to Christianity. She is identified in the New Testament^{[Mt 1:16,18-25][Lk 1:26-56][2:1-7]} and in the Qur'an as the mother of Jesus through divine intervention. Jesus is viewed as the messiah—the Christ—in both traditions, giving rise to the common name of Jesus Christ.

The canonical gospels of Matthew and Luke describe Mary as a virgin (Greek παρθένος, parthénos). Traditionally, Christians believe that she conceived her son miraculously by the agency of the Holy Spirit. Muslims believe that she conceived by the command of God. This took place when she was already betrothed to Saint Joseph and was awaiting the concluding rite of marriage, the formal home-taking ceremony. She married Joseph and accompanied him to Bethlehem, where Jesus was born. In keeping with Jewish custom, the betrothal would have taken place when she was around 12, and the birth of Jesus about a year later.

Céline Scheen (b. 1976 in Verviers, Belgium) is a Belgian operatic soprano.

She began her vocal studies with Annie Frantz. In 1996, she entered the Royal Academy of Mons and obtained a First Prize in the class of Marcel Vanaud. She then received a degree in song and methodology of song at the Royal Academy of Brussels. In 1998, she obtained the Nany Philippart's grant with Chapelle musicale Reine Élisabeth. For two years, she worked in the class of Vera Rosza at the Guildhall School of Music in London, where she obtained an advanced degree in vocal performance. She also takes masterclasses with Jean-Paul Fouchécourt, Monique Zanetti and Helmut Deutsch.

Scheen has sung the roles of Lucy in The Telephone, or L'Amour à trois by Gian Carlo Menotti, Thérèse in the Les mamelles de Tirésias by Francis Poulenc, the First Lady and Papagena in Wolfgang Amadeus Mozart's Die Zauberflöte, Frasquita in Carmen, Vespetta in Pimpinone by Georg Philipp Telemann, Grilletta in Lo Speziale by Joseph Haydn, and Zerlina in Mozart's Don Giovanni. She appeared with La Monnaie in Christoph Willibald Gluck's Alceste, Francesco Cavalli's Eliogabalo, and Mozart's Die Zauberflöte under the direction of René Jacobs. She sang in concerts in the Petite Messe Solennelle of Gioachino Rossini, Carl Orff's Carmina Burana, the Requiem of Gabriel Fauré, the Coronation Mass and the Great Mass in C minor by Mozart, and Johann Sebastian Bach's Johannes Passion with the groups Il Fondamento, Ricercar Consort, Café Zimmermann, La Fénice, La Cetra d'Orfeo and Musica Antiqua Köln.