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Due to the ongoing effects of closure at the Royal Opera House, information about artists is only updated periodically during this time. We apologise for any inconvenience caused.

Christian Fenouillat

Set designer


French set designer Christian Fenouillat made his Royal Opera debut in 2000 creating set designs for La Cenerentola, directed by Moshe Leiser and Patrice Caurier. He has has since returned to work on Madama Butterfly, Hamlet, Il turco in Italia, Il barbiere di Siviglia, Hansel and Gretel and Maria Stuarda, all directed by Leiser and Caurier.

Fenouillat was born in Périgueux. He trained initially as an architect and since 1975 has worked as a set designer for cinema, theatre and opera. His other work for Leiser and Caurier includes Giovanna d’Arco (La Scala, Milan), Armide and La clemenza di Tito (Théâtre des Champs-Elysées), Wozzeck, Der Rosenkavalier and Der Ring des Nibelungen (Geneva), Jenufa and Aufstieg und Fall der Stadt Mahagonny (Spoleto Festival), Ariane et Barbe-bleue and Lucia di Lammermoor (Opéra de Lyon), Rossini’s Otello, L’italiana in Algeri, Giulio Cesare in Egitto and Norma (Salzburg Festival), Carmen and Fidelio (Welsh National Opera), La Damnation de Faust, Falstaff and L’incoronazione di Poppea (Angers-Nantes Opéra), Il trovatore (Essen), Teseo and Le Comte Ory (Theater an der Wien), Die Zauberflöte (Vienna State Opera) and L’equivoco stravagante (Rossini Opera Festival, Pesaro). Other opera credits include an award-winning production of Pelléas et Mélisande (Brussels).

In theatre, Fenouillat’s credits include plays by Lorca, Pirandello, Strindberg, Bond, Synge and the Prix Goncourt-winning Marie N’Diaye. In cinema he has worked with directors including Jean-Luc Godard and Marguerite Duras. He also participates in art exhibitions, including in a co-exhibition with Juliette Binoche.

News and features

How to Stage an Opera: Escape from Il barbiere di Siviglia

2 October 2014
How to Stage an Opera: Escape from Il barbiere di Siviglia

The enclosed set of The Royal Opera's production of Rossini's masterpiece heightens the comedy and the pathos.