Caroline Ginet trained as a visual artist and graduated from the École des Arts Décoratifs in Paris with a degree in Interior Architecture. She has worked with opera directors including Laurent Pelly, Lilo Baur, Vincent Goethals and Pascal Neyron. For the theatre, she collaborated with the Franco-Norwegian collective The Krumple and director Vincent Ecrepont.
For Laurent Pelly, she designed the sets for Offenbach’s La Périchole (Opéra de Marseille), Ravel’s L’Heure Espagnole and Puccini’s Gianni Schicchi (Tokyo Opera, Paris Opera). More recently, she has worked on the diptych Les Mamelles de Tirésias and Poulenc's La Voix Humaine at the Glyndebourne Festival, which won the International Opera Award 2022 in the new show category.
She also designed the scenography for Léo Delibe’s Lakmé (Opéra de Lausanne, Opéra Comique), staged by Lilo Baur, the sets for César Cui’s Chat botté (Opéra National du Rhin) directed by Jean-Philippe Delavault and Brecht’s Threepenny Opera (Théâtre du Peuple) staged by Vincent Goethals.
Since 2018, she has been regularly working with stage director Pascal Neyron, with whom she staged Albert Roussel’s Le Testament de la Tante Caroline and Maurice Yvain’s Là-Haut at the Théâtre de l’Athénée Louis Jouvet. Caroline Ginet also worked with the Paris Opera Academy and Pascal Neyron for the production N’est-ce plus ma voix.
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