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Caroline Ginet
Set designer
Biography
After training as a visual artist and graduating from the École des Arts Décoratifs de Paris in Interior Architecture, Caroline Ginet has worked with opera directors Laurent Pelly, Lilo Baur, Vincent Goethals, and Pascal Neyron.
In theater, she collaborates with the Franco-Norwegian collective The Krumple and director Vincent Ecrepont.
She designed the set for Lakmé by Léo Delibes (Opéra de Lausanne, Opéra Comique), directed by Lilo Baur; the sets for Le Chat Botté by César Cui (Opéra National du Rhin), directed by Jean-Philippe Delavault; and L’Opéra de Quat’sous by Brecht (Théâtre du Peuple), directed by Vincent Goethals.
Since 2018, she has regularly collaborated with director Pascal Neyron, with whom she has staged in Paris at the Théâtre de l’Athénée-Louis Jouvet: Le Testament de la Tante Caroline by Albert Roussel, Là-Haut by Maurice Yvain, as well as N’est-ce plus ma voix! and La Scala di Seta by Rossini with the Académie de l’Opéra de Paris Bastille.
For Laurent Pelly, she designed the sets for La Périchole by Offenbach and the diptych L’Heure Espagnole by Ravel and Gianni Schicchi by Puccini (Opéra de Tokyo, Opéra de Paris). More recently, she designed the diptych Les Mamelles de Tirésias and La Voix Humaine by Poulenc at the Glyndebourne Festival, which received the 2022 International Opera Award for Best New Production.
Currently in
- Amphithéâtre Olivier Messiaen
- from 01 to 06 December 2025
