Barbe & Doucet
Opera Producer/Stage Director
After separate beginnings in dance, theatre, television and the opera field Renaud Doucet, Stage director & Choreographer, and André Barbe, Set & Costume Designer, joined forces in 2000. Since then they have created together over 30 new opera productions which are recognized for their creativity, sense of spectacle and minutely detailed dramaturgy.
André Barbe received a bachelor of Fine Arts at Concordia University then studied at the National Theatre School of Canada under the tutelage of designer François Barbeau. To date he has designed more than 300 productions for Theatre, Television and Opera. He received the Irish Times Irish Theatre Award 2005 for best set designer for Pénélope at Wexford Festival Opera as well as the 2011 Rolf-Mares Prize for best sets & costumes for La Cenerentola at the Hamburgische Staatsoper. Since 2010 he has taught Set & Costume design at the National Theatre School of Canada.
Trained musician Renaud Doucet began his performing career as a solo dancer, ballet master, teacher and choreographer in international dance companies. He was introduced to the opera world as a baroque choreographer & baroque gesture specialist coaching singers like Alfredo Kraus, Jaime Aragall, Raina Kabaivanska and Mirella Freni. He also worked as an actor in various movies & TV series.
Their work as a team gained international recognition with their productions of Cendrillon by Massenet at l’Opéra National du Rhin in Strasbourg & l’Opéra de Marseille (France), New York City Opera (USA), Badisches Staatstheater Karlsruhe (Germany) and l’Opéra de Montréal (Canada); the Viennese premiere of The Sound of Music, Turandot and Rusalka at the Volksoper Wien (Austria); Thaïs at Opera Theatre of Saint Louis, l’Opéra de Montréal, Palm Beach Opera & Boston Lyric Opera; Pénélope by Fauré, Si j’étais roi by Adam & Thérèse / La Navarraise at Wexford Festival Opera (Ireland); Benvenuto Cellini and Iphigénie en Aulide at l’Opéra National du Rhin; Pelléas et Mélisande and The Rape of Lucretia at l’Opéra de Montréal; a North American production of Les Contes d’Hoffmann at Opera Theatre of Saint Louis, Boston Lyric Opera, Opera Colorado & Florida Grand Opera; Samson & Dalila at the Kungliga Operan (Royal Swedish Opera) in Stockholm; Manon at Scottish Opera & Malmö Opera; the entire 2009-10 season at Florida Grand Opera in Miami with Lucia di Lammermoor, Pagliacci, Suor Angelica, Il Barbiere di Siviglia & Carmen; La Cenerentola at the Hamburgische Staatsoper; Turandot at Seattle Opera, Minnesota Opera, Utah Opera, and Cincinnati Opera; Die Feen by Wagner for the bicentenial celebrations “Wagnerjahr 2013” for Oper Leipzig in co-production with Bayreuther Festspiele; and Don Pasquale at Scottish Opera & Florida Grand Opera. Their most recent new productions include La Belle Hélène at the Hamburgische Staatsoper which was filmed by ARTE and presented on German & French television during the Christmas holidays, now available on DVD; Les Contes d’Hoffmann at Oper Bonn & Volksoper Wien; Arabella at Oper Köln; Il Matrimonio Segreto at the Innsbrucker Festwochen der Alten Musik and Turandot at Opera Philadelphia.
Their upcoming productions include Turandot at Pittsburgh Opera, Atlanta Opera & Vancouver Opera; Il Matrimonio Segreto at Oper Köln; La Bohème at Scottish Opera & St Gallen and Die Zauberflöte at the Glyndebourne Festival.
“The audience roared its approval at the conclusion of Cincinnati Opera’s “Turandot” in Music Hall Saturday night – and for good reason. It was, without a doubt, the most dazzling production of Puccini’s “Turandot” this city has ever seen.”
“Credit goes mainly to the partnership of André Barbe and Renaud Doucet, who, in their company debut, display a keen psychological sense and an almost fanatical precision of execution.”
“André Barbe and Renaud Doucet managed to combine the worlds of verismo Liù, fairy tale Prince and mythic Ice Princess into an exciting and moving whole. Barbe’s set worked wonderfully on all levels… Doucet’s brilliant choreography kept the large cast of characters in outstanding form… and Barbe’s flamboyantly colourful costumes repeatedly fell into their patterned places like a king-size kaleidoscope.”
“Detail counts at every level at a startling micro level. As such, this production grabs you from the word go […] this production is indestructible.”