Joël Adam
Lighting designer

Season 18/19 Artist

Since 1989, Joël Adam has worked as a lighting designer with Laurent Pelly, for Shakespeare’s Love’s Labour’s Lost (Théâtre national de l’Odéon), Strindberg’s Dance of Death (at the CDN in Grenoble), Shakespeare’s King John (Avignon Festival, 1998), The Naked King by Yevgeny Schwartz (at the CDN in Grenoble, 2004), Strindberg’s A Dream Play (at the CDN in Grenoble, February 2006). He has also worked in opera on Orphée aux Enfers in Geneva, Platée at the Paris Opera (1999), La Belle Hélène at the Théâtre du Châtelet (2000), Les Contes d'Hoffmann at the Lausanne Opera (2003), L’Heure espagnole and Gianni Schicchi at the Tokyo Opera and the Paris Opera (2003), Ariadne auf Naxos at the Paris Opera (2003), Les Boréades at the Lyon Opera (2004), La Grande Duchesse de Gérolstein at the Théâtre du Châtelet (2004), Le Roi malgré lui at the Lyon Opera (2005), L'Amour des Trois Oranges at the Amsterdam Opera (2005), the Offenbach triptych at the Lyon Opera (2005), La Fille du regiment at London’s Covent Garden, La Finta Semplice at Vienna’s Theater an der Wien, La Vie parisienne at the Lyon Opera (2007), Manon at London’s Covent Garden, Don Quichotte at the Monnaie in Brussels, Mahagonny at the Capitole de Toulouse (2010), Giulio Cesare at the Paris Opera (2011), and L’Enfant et les sortilèges and L’Heure espagnole at Glyndebourne (2012). He worked with Philippe Adrien on Jean Genet’s Les Bonnes (The Maids) at the Théâtre du Vieux-Colombier and on Shakespeare’s Hamlet at the Théâtre de la Tempête; as well as with Andrei Serban on Molière’s L’Avare (The Miser) (2000) and Shakespeare’s Merchant of Venice at the Comédie-Française (2001). In addition, he collaborated with choreographer Laura Scozzi on The Seven Deadly Sins at the Paris Opera (2001), as well as with Sandrine Anglade on Britten’s The Rape of Lucretia at the Nantes Opera (1999), Romeo & Juliet at the Bordeaux Opera (2000), Marivaux’s La Mère confidente (The Mother as Confidante) (2001) and Ibsen’s The Master Builder at the Maison de la Culture in Nantes (2003).

Projects: Offenbach’s Le Roi Carotte at the Lyon Opera, Gounod’s Le Médecin malgré lui at the Grand Théâtre in Geneva, and a revival of L’Enfant et les sortilèges and L’Heure espagnole at Milan’s La Scala. 

Currently in