Opéra de Lausanne

Debut at the Opéra de Lausanne.

After studies in graphic design, Amélie Kiritzé-Topor went on to study stage design at ENSATT. During her studies, she worked with Hélène Vincent at the Nouveau Théâtre d’Angers, Richard Dubelsky at the Théâtre des Amandiers de Nanterre, and created the stage for Brecht’s Good Woman of Szechuan for Brigitte Jaques in cooperation with Perrine Leclere.

In research based on the relation between space, the object and language, she has created curious spaces outside of the theatre house for Sylvie Mongin-Algan (Thrène, Kermann, nuclear fallout shelter), Eric Massé (Jean Genet’s The Maids, apartment and theatre) and Laurent Madiot (Ciao beauté, musical), Jean-Christophe Barbaud (Ouverture at the Kift Festival, South Korea). She later designed the scenography for Don Pasquale by Donizetti for Stephen Taylor at the Festival des Nuits Romantiques in Bourget, and was assistant to the stage designer Rudy Sabounghi on productions directed by Thierry de Peretti, Jean-Claude Berutti and Dagmar Pischel. She was also assistant in the creation of a fashion show for the Travelling Light collection of G. Rozier.

As a painter, she has created the sets for dance companies such as Cie Pernette and Rachid Ouramdane, and also for the Théâtre du Centaure, the 26000 Couverts, and for various films (L’autre, Un long chemin). She has also worked on exhibition rooms and museums: Spatial and graphic concept Cap Environnement 2007 in cooperation with Cléo Laigret (Atria de Belfort), organisation of the mounting of objects and their installation (Extension Mémorial de Caen), installation of contemporary art and design exhibitions (FRAC Ile de France, the Metropolitan in Tokyo, Tendance Flou collective, designers Domeau and Pérès, in Enghien-les-Bains, Morphosis Architectural Bureau in Beaubourg). She also participated in the graphic design of the review Le Canard en Plastic.

She has created opera sets for Vincent Vittoz (Janacèk’s The Cunning Little Vixen, including the creation of marionette-objects, La serva padrona by Pergolèse, Lundi, Monsieur vous serez riche! by Duhamel, La voix humaine by Poulenc, Cavalleria rusticana by Mascagni), for Marion Wasserman (Fidélio in Limoges and Tours) and for Benoît Bénichou (Bernstein’s Trouble in Tahiti, followed by Ravel’s L’enfant et les sortilèges in Nancy). She also created the set of the Euro-Columbian project Bolivar : fragments of a Dream, directed by Omar Porras for the Bicentennial Celebrations of the Independence of Columbia (Bogota, Cali, Medellin, Mexique…) on tour in Europe (Châteauvallon, Barcelona, Nantes…).