fabrice kebour

fabrice kebour

Lighting Designer

Lighting Designer

With more than 250 productions to his credit, Fabrice Kebour has become one of Europe’s leading lighting designer.
His career began in New York where he developed his skills designing numerous productions as well as assisting established professionals.

With more than 250 productions to his credit, Fabrice Kebour has become one of Europe’s leading lighting designer.
His career began in New York where he developed his skills designing numerous productions as well as assisting established professionals.

First steps, first success, he wins entry to the United Scenic Artists internship program which allows him to work with some of the leading American lighting designers of the day, both Off and On Broadway. After successfully completing the 2 years internship, Fabrice became the first foreign lighting designer to be granted membership of USA 829 through the examination process.


After 5 years in New York gaining multiple experience, Fabrice Kebour returned to Paris and it is at that time that he designs his first European productions amongst which Hamlet directed by Terry Hands, as well as several production offered to him by Gian Carlo Menotti for the Spoleto Festival.


Over the past 20 years, his work has been seen on the most prestigious international theaters : La Comédie Française, the Opéra National de Paris, the Wiener Staatsoper, the Bregenzer Festpiele, the Teatro Alla Scala, the Mariinsky Theatre, the Royal Opera House Covent Garden, the Bayreuth festival, the Festival d'Aix-en-Provence,the Théâtre Royal de la Monnaie.


He designed Giorgio Barberio Corsetti’s productions Un Chapeau de Paille d’Italie for La Comédie Française, Macbeth et Turandot for La Scala, as well as Don Carlo at the Mariinsky.
Since 2007, he has been designing most of Sir David Pountney’s production amongst which La Forca del Destino for the Wiener Staatsoper, Die Zauberflöt for the Bregenz festival and Philip Glass’ world premiere, Spuren der Verirrten for the opening of the new opera house in Linz.
He also collaborates with director Claus Guth: La Bohème and Bérénice at Opera de Paris as well as Il Viaggio, Dante in Aix-en-Provence.
With Christof Loy: Il Trittico for the Salzburg Festival, La Rondine at the Zurich Opera, La Fiamma for the Deutsche Oper Berlin and Erwartung/La Voix Humaine for the Teatro Real de Madrid.

My Image

First steps, first success, he wins entry to the United Scenic Artists internship program which allows him to work with some of the leading American lighting designers of the day, both Off and On Broadway. After successfully completing the 2 years internship, Fabrice became the first foreign lighting designer to be granted membership of USA 829 through the examination process.


After 5 years in New York gaining multiple experience, Fabrice Kebour returned to Paris and it is at that time that he designs his first European productions amongst which Hamlet directed by Terry Hands, as well as several production offered to him by Gian Carlo Menotti for the Spoleto Festival.


Over the past 20 years, his work has been seen on the most prestigious international theaters : La Comédie Française, the Opéra National de Paris, the Wiener Staatsoper, the Bregenzer Festpiele, the Teatro Alla Scala, the Mariinsky Theatre, the Royal Opera House Covent Garden, the Bayreuth festival, the Festival d'Aix-en-Provence,the Théâtre Royal de la Monnaie.


He designed Giorgio Barberio Corsetti’s productions Un Chapeau de Paille d’Italie for La Comédie Française, Macbeth et Turandot for La Scala, as well as Don Carlo at the Mariinsky.
Since 2007, he has been designing most of Sir David Pountney’s production amongst which La Forca del Destino for the Wiener Staatsoper, Die Zauberflöt for the Bregenz festival and Philip Glass’ world premiere, Spuren der Verirrten for the opening of the new opera house in Linz.
He also collaborates with director Claus Guth: La Bohème and Bérénice at Opera de Paris as well as Il Viaggio, Dante in Aix-en-Provence.
With Christof Loy: Il Trittico for the Salzburg Festival, La Rondine at the Zurich Opera, La Fiamma for the Deutsche Oper Berlin and Erwartung/La Voix Humaine for the Teatro Real de Madrid.

My Image

Fabrice enjoys venturing beyond his main fields that are theater and opera, and always welcomes new challenges. He designed numerous musical around the world and In 2006, he designed the opening and closing olympic ceremonies of the Asian Games in Doha.

Always eager to build bridges, he co-founded the french lighting designer’s association “Union des Créateurs Lumière” in 2009 for which he held the president position until 2012.

In 2011, the Prague Quadrennial invited him to be part of the Light Speaks exhibit which displayed the work of the world’s leading lighting designers.

The theatre and design community praised his work on numerous occasion: in 2005 Molière Nomination, Best lighting designer for Camille C, Théâtre de l’Oeuvre; in 2009 Molière Nomination, Best lighting designer for Baby Doll, Théâtre de l’Atelier; in 2011 Molière Nomination, Best lighting designer, Pluie d’Enfer, Théâtre de la Pépinière; for the season 2014/2015 Prix de la critique, Prix de l’Europe Francophone, Die Lustigen Weiber von Windsor, Opéra Royal de Wallonie and in 2015 Nomination, Best lighting designer, Moses in Egypt, Welsh National Opera.

Fabrice enjoys venturing beyond his main fields that are theater and opera, and always welcomes new challenges. He designed numerous musical around the world and In 2006, he designed the opening and closing olympic ceremonies of the Asian Games in Doha.

Always eager to build bridges, he co-founded the french lighting designer’s association “Union des Créateurs Lumière” in 2009 for which he held the president position until 2012.

In 2011, the Prague Quadrennial invited him to be part of the Light Speaks exhibit which displayed the work of the world’s leading lighting designers.

The theatre and design community praised his work on numerous occasion: in 2005 Molière Nomination, Best lighting designer for Camille C, Théâtre de l’Oeuvre; in 2009 Molière Nomination, Best lighting designer for Baby Doll, Théâtre de l’Atelier; in 2011 Molière Nomination, Best lighting designer, Pluie d’Enfer, Théâtre de la Pépinière; for the season 2014/2015 Prix de la critique, Prix de l’Europe Francophone, Die Lustigen Weiber von Windsor, Opéra Royal de Wallonie and in 2015 Nomination, Best lighting designer, Moses in Egypt, Welsh National Opera.

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PRESS

Immensely important in an opera that includes scenes where God is heard to speak and in which miracles take place is the lighting, and lighting designer Fabrice Kebour proves more than equal to the task with some of the most striking lighting effects seen in opera, dealing superbly with its many difficulties.
the young critics Barbara Michaels
From the cast to the stunning lighting design, every element of this staging contributes to offering a striking theatre experience
France-inter Laure Adler
Tom Piper’s stunning scenography, tremendously helped by amazing lighting design (Fabrice Kebour) starts out in a dilapidated mansion
riviera-buzz NATJA IGNEY
Reviews
Les éclairages de Fabrice Kebour transforment magiquement le jour en nuit, en aube, en orage.
Fabrice Kebour's lights transform magically day to night, into dawn, into a storm.
Olyrix Paula Gaubert May 2017
Ce décor se construit autour du sublime éclairage de Fabrice Kebour, basé sur un mouvement presque continu mais diffus de jeux de lumières, évocation lointaine de vagues calmes et apaisantes,
This set is built around the sublime lighting of Fabrice Kebour, based on an almost continuous but diffuse movement of lights, a distant evocation of calm and soothing waves,
ResMusica Charlotte Saulneron-Saadou May 2017
…de véritables tableaux vivants, certains inspirés de la peinture hollandaise, et jusqu’ à la dernière scène de Leonard de Vinci, sous les magnifiques éclairages de Fabrice Kebour, introduisant ainsi une dimension dramatique complémentaire et sans que rien de ceci ne paraisse artificiel ou fabriqué.
…true living pictures, some inspired by Dutch painting, and up to the last scene of Leonardo da Vinci, under the magnificent lighting of Fabrice Kebour, thus introducing a complementary dramatic dimension and without any of this appearing artificial or fabricated
ForumOpera Claude Jottrand March 2017
Fabrice Kebour, the lighting designer, is one of the greatest assets in the production. His elegant and ethereal lighting cast such an inviting and mysterious glow upon each scene, that it was hard to distinguish from a multi-million dollar Hollywood film.
thecriticallyacclaimed Andrew F. Turner November 2016
Tom Piper’s stunning scenography, tremendously helped by amazing lighting design (Fabrice Kebour) starts out in a dilapidated mansion
riviera-buzz NATJA IGNEY April 2016
Fabrice Kebour’s lighting design, more than in most operas, is central to the look of The Passenger, and it expertly draws the viewer in with the sickly yellows and harsh spotlights of the death camp, and the full illumination of the ship, which lends those scenes a sterile, icy prosperity.
palm beach arts paper Greg Stepanich on 03 April 2016.
Il faut attendre les scènes intimes du deuxième acte pour qu'enfin la magie opère, grâce notamment au travail très élaboré de Fabrice Kebour sur les lumières qui suggère avec beaucoup de subtilité les espaces du lupanar où Theodora a été jetée ou l'ambiance nocturne des réunions clandestines des croyants et verse sur l'ensemble une coloration orientalisante du plus bel effet.
Thanks to the elaborate work of Fabrice Kebour Lights suggesting with great subtlety the spaces of the brothel where Theodora was thrown or the nightlife of clandestine meetings of believers and pours.
musicologie.org Frédéric Norac octobre 2015
les hésitations, la peur, la confiance, la force aussi, tout cela est sur scène, magnifié par les sublimes lumières de Fabrice Kebour.
Hesitation, fear, confidence,strenght, it is all on stage magnified by the stunning lights designed by Fabrice Kebour
maculture Par Yannick Bezin october 2015
Le tout est baigné dans la très belle lumière, presque métaphysique et spirituelle de Fabrice Kebour.
Everything is bathed in beautiful light , almost metaphysical and spiritual designed by Fabrice Kebour .
operaphile Jean Luc Octobre 2015
Dans l’ombre, on ne manque pas d’applaudir le travail remarquable de la lumière de Fabrice Kebour qui perce à travers les moucharabiehs d’Andrew D Edward .
The remarkable work of Fabrice Kebour’s lighting that pierces through Andrew Edward D’s moucharabiehs
etat-critique.com juillet 2015
«Les éclairages très étudiés de Fabrice Kebour font évoluer l’appareil scénographique (par exemple, au second acte, en révélant dans la masse sculptée du décor des figures démoniaques chevauchant des dragons) et contribuent également à la réussite de cette mise en scène plastiquement superbe.
“The precise lighting designed by Fabrice Kebour are transforming the space and contribute to the success of this visually stunning staging.”
ResMusica Michel Thomé Juin 2015
«Devant cette dentelle infranchissable laissant deviner l’extérieur, l’inaccessible sur lequel on se risque tout au plus à entrouvrir de temps à autre une fenêtre, se déroule l’action, au sein d’un espace à l’austérité monacale, sculpté par les superbes lumières de Fabrice Kebour.
“Before this impassable lace hinting the unreachable freedom on which we may at most partially open from time to time a window, the action takes place in a monastic space, sculpted by beautiful lighting from Fabrice Kebour.”
Fou de Théâtre Thomas Baudeau Mai 2015
«Bref, tout est beau et profond dans ce spectacle où même la splendeur de la scénographie d’Andrew D Edwards, subtilement éclairée par Fabrice Kebour, n’a rien d’ornemental puisqu’elle ne fait que prolonger le geste de Garcia Lorca : conférer à l’enfer une beauté salvatrice.
“Everything is beautiful and deep in this show where even the splendor of the scenery Andrew D Edwards, subtly lit by Fabrice Kebour, carries out the vision that Garcia Lorca : confering to hell a saving beauty.”
Le Monde Judith Sibony May 2015
«Dans l’ombre, on ne manque pas d’applaudir le travail remarquable de la lumière de Fabrice Kebour qui perce à travers les moucharabiehs d’Andrew D Edward ainsi que la beauté de la musique de Mich Oscowiak
“In the darkness , one is bound to applaud the remarkable work of Fabrice Kebour’s lighting that pierces through Andrew Edwards’ set and the beauty of Mich Oscowiak’s music”
Etat-critique Estelle Girenon June 2015
« Et ce moucharabié géant d’où filtrent des lumières distillées avec brio, tandis que les jeunes filles s’y accrochent comme des papillons, attirés par la lumière extérieure, jusqu’à s’y bruler.
“And that giant lace wall where light brilliantly passes through, while young girls cling on it like moths attracted by the outside light.”
L’Humanité Marie-José Sirach June 2015
« Chez Michaël Levinas, la proximité entre l’Aviateur et l’enfant aux cheveux blonds prend une tournure émotionnelle. Assis côte à côte, ils s’émerveillent des couchers de soleil (très belles lumières de Fabrice Kebour).
“In Michaël Levinas' work, the proximity between the aviator and the child with blond hair takes an emotional turn. Sitting side by side, they marvel at the sunsets (very beautiful lights Fabrice Kebour).”
Le Temps Julian Sykes November 2014
A beautiful effect from lighting designer Fabice Kebour enables the audience to witness the sun slowly disappear over Egypt, as the plague of darkness strikes. As God lifts the plague, another clever piece of lighting from Kebour enables the audience to share in the experience of being freed from the darkness.
Jacqui Onions The review hub october 2014
« Lighting Deisgn by Fabrice Kebour is wondrously atmospheric and moody for the entirety of the production. From the moment the orchestra begins to play the overture and all that is lit is the curtain until the final washes of opulent blues at the end of Act II, every cue is meticulously programmed to be severely meaningful. Throughout a majority of the production the lighting elements are stark and harsh, illuminating the disregard for humanity within the opera's story. Yet, the most interesting and affective lighting choice comes from the manual operation of searchlights in the Auschwitz scenes. This choice ingeniously forces the audience to recognize the danger, fear, and cruelty of the prison camp in an inventively nonverbal way.»
Broadway World David Clarke January 2014
« The barracks and Liese's cabin trundle around from the sides of the stage like carriages on train tracks, an Auschwitz trope that is no less chilling for being so familiar. Fabrice Kebour's lighting is especially powerful in its limning of these two different worlds. Glaring searchlights on guard towers snap on when the prisoners are under immediate threat, and light is wielded like a weapon when Marta backs Liese down the stairs from the deck into Auschwitz for the climactic concert.»
The Wall Street Journal Heidi Waleson January 2014
« Dana Rowe's musical adaptation of John Updike's Witches of Eastwick marked a definite change of pace on the main stage the next day, with a show band in the pit, flying witches and other special effects onstage, and imaginative lighting by Fabrice Kebour. »
Opera News Sylvia l’Ecuyer August 2013
 Dazu liefert Fabrice Kebour die passenden Lichteffekte, die den langsam einbrechenden abendlichen Hell-Dunkel-Effekt geschickt nutzen und das Futuristische der Inszenierung betonen.
« In addition, Fabrice Kebour provides the suitable light effects that cleverly use the slowly breaking evening clair-obscur effect and emphasise the futuristic staging.»
Opernnetz Horst Dichanz July 2013
"A visual feast, compliments of director David Pountney, choreographer Amir Hosseinpour, and Anne Marie Legenstein, who created the bewildering array of delightfully bizarre costumes. Fabrice Kebour’s lighting — cold and dreary blues, alternating with jarring brightness — were also effective.»
Washington Post 12 April 2013
l’esthétisme japonais un rien sévère offre un cadre dramaturgique proche de l’abstraction évitant tout cliché, et au demeurant admirablement éclairé. 
"The japanese aesthetic offers an abstract dramatic concept that avoids cliches, morover admirably lit"
Altamusica Yannick Millon 18 Juin 2012
"The scale of the production is almost overwhelming; Johan Engels' design cleverly juxtaposes the luxury of the bourgeois ship with the grit of the concentration camps. This is helped in no small part by Fabrice Kebour’s striking, almost genius, lighting design."
Stagewon.co.uk Matt Jessup 23 Septembre 2011
"David Pountney's production, premiered at Bregenz, is amazing. Visually it's so striking that it takes your breath away. This production, with designs by Johan Engels, costumes by Marie-Jeanne  Lecca and lighting by Fabrice Kebour  makes the best possible case for this opera."
Instantencore.com Richard Whitehouse 20 Septembre 2011
"...Fabrice Kebour’s lighting that itself points out such contrasts between the pristine and corrupt. As an integrated concept placed at the service of the drama, this will be hard to equal."
Classicalsource.com Richard Whitehouse Septembre 2011
"Johan Engels's sets, Marie-Jeanne Lecca's costumes and the light/airy and dark/dank aspects of Fabrice Kebour's lighting are impressive and singularly serving of the opera itself."
The Opera Critic Colin Anderson 19 Septembre 2011
"Carlos Wagner’s production offers a point of view esthetically very strong of a piece overdone: a pictorial Carmen with cameo of black lit superbly..."
Le Figaro Christian Merlin 22 February 2011
Le décor, épuré et massif, de Rifail Ajdarpasic, constitué de sombres panneaux semblables à de la lave ou du bronze, et la lumière très subtilement dosée de Fabrice Kebour crée une atmosphère inquiète.
" Rifail Ajdarpasic’s massive set made of dark panels similar to larva or bronze, and Fabrice Kebour’s very subtly adjusted lighting create the uncanny atmosphere."
Les Echos Philippe Venturini 24 February 2011
Les références à Goya et à ses atmosphères lourdes et pesantes sont perceptibles jusque dans une direction d’acteurs d’une rare intensité, évitant soigneusement toute vulgarité, d’une violence toute contenue, à la cruauté encore accentuée par des éclairages très crus mais d’une grande beauté.
"The references to Goya and his heavy atmospheres are perceptible in a directing of a rare intensity, carefully avoiding any vulgarity, of a contained violence, and whose cruelty is underlined by the harsh lighting of great beauty."
Classiquenews.com Nicolas Grienenberger 21 February 2011
Lumière et vidéo de Fabrice Kebour ajoutent les effets de pluie, de nuit, de neige d’écran, quelque chose qui sans cesse angoise...On cite tout le monde car il y a une cohérence très grande dans ce travail, ce grand travail réglé comme une pièce musicale.
"The lighting and video designed by Fabrice Kebour bring the effects of rain, snow, night, something that creates a constant feeling of anxiety... We name everyone as there is a very big coherence in this work, this grand work set as a musical score."
Le Figaro Armelle Héliot 13 February 2011
...De plus, les lumières de Fabrice Kebour parviennent à établir l'atmosphère sombre qui convient à la pièce.
"...In addition, Fabrice Kebour’s lighting manages to establish the dark atmosphere that serves the play."
Froggy’s Delight Laurent Coudol February 2011
On notera, surtout, de très beaux effets de lumière, tantôt dorée, tantôt rougeoyante comme ce terrible feu dans lequel finit Zuniga...
"We will particularly notice the beautiful lighting effects, sometime of golden tint, sometime redish like this fire into which Zuniga ends up..."
Le Républicain Lorrain Gaël Calvez 29 January 2011
Soulignons les superbes décors de Sophie Jacob, les lumières éclatantes de Farbice Kebour...
«Note Sophie Jacob’s superb set and Farbice Kebour’s striking lighting...
Pariscope Marie-Céline Nivière 9 September 2010
Le décor reste simple, à la fois irréel et concret. Virtuosité des éclairages, intuition irréprochable et sensible du geste: Pountney va brillamment jusqu’au bout d’un projet qui restera, sans aucun doute, comme l’événement majeur de son mandat à Bregenz.
«The set is simple, both unreal and concrete. Virtuosity of the lighting, faultless intuition and sensitivity of the concept: Pountney takes brilliantly to completion a project that will, undoubtedly, remain as the major event of his mandate in Bregenz.»
Opéra Magazine Laurent Barthel 21 July 2010
Die Bühne (Johan Engels) hält dabei alle Möglichkeiten der Verwandlung und verblüffende Spielflächen offen, exzellente Lichtstimmungen (Fabrice Kebour) und sorgsam gewählte Kostüme (Marie-Jeanne Lecca) unterstreichen das Geschehen detailgenau.
«The stage (Johan Engels) keeps open all the possibilities of transformation and astounding play areas, excellent lighting effects (Fabrice Kebour) and carefully chosen costumes (Marie-Jeanne Lecca) underline the events detailed.»
Kultur Fritz Jurmann 22 JuLY 2010
nicht nur die Thematik der Oper, sondern die Gesamtheit der Inszenierung von David Pountney im Zusammenwirken von Musik, Bühne und Licht entwickelt eine ungeheure Sogkraft.
«not only the theme of the opera, but the totality of David Pountney's production with the interaction of music, stage and lighting created a tremendous magnetic pull.»
Schwäbische Zeitung, Leutkirch 26 JuLY 2010
Die Lichtregie von Fabrice Kebour ist großartig
«Fabrice Kebour lighting design is great.»
Kronenzeit, Vorarlberg, Wien 26 JuLY 2010
Nur selten ist ein derart imponierendes Szenario zu erleben, das durch die perfekten Kostüme von Marie-Jeanne Lecca und die beeindruckende Lichtregie von Fabrice Kebour noch gesteigert wurde.
«It is rare to see such an outstanding piece increased by the perfect costumes of Marie-Jeanne Lecca and the impressive lighting design by Fabrice Kebour.»
Nachrichten 27 JuLY 2010
"The result is spectacular, emotional and resonant."
L.A. Opinion 10 June 2010
"Presented on a colossal scale, the dazzling spectacle uses a new medium to deliver a truly fantastic experience."
Los Angeles Times Brady McDonald 16 June 2010
Du choix des comédiens, tous formidables, à un superbe travail de lumière, tout contribue à faire de cette mise en scène un très beau moment de théâtre.
From the cast to the stunning lighting design, every element of this staging contributes to offering a striking theatre experience
France Inter-Studio théâtre Laure Adler 30 January 2010
Mais, progressivement, les corps s’animent, le dispositif révèle des possibilités insoupçonnées (nombreuses trappes d’escamotage, splendides éclairages qui confèrent aux surfaces blanches de l’amphithéâtre des géométries changeantes)...
Slowly, the bodies come alive, the design reveals its unexpected possibilities (numerous traps, splendid lighting design which brings changing geometry to the white surface of the amphitheater.
Opéra Magazine Laurent Barthel 26 July 2009
…Fabrice Kebour schafft mit seiner meisterhaften Lichtführung Verbindungs- und Trennungslinien zwischen den Personen, definiert den Raum ständig neu und schafft so eindrückliche Lichtstimmungen...
«...Fabrice Kebour creates with his masterful lighting connection and divisions among the people who defined the space constantly, creating an impressive mood lighting...»
Volksblatt.li 24 July 2009
Zum Leben erweckt wird diese Stufen-Landschaft aber vor allem durch die Kunst des Light-Designers Fabrice Kebour 
«...has brought to vivid life this stage scenery and especially through the art of Light Designer Fabrice Kebour»
Austria Presse Agentur, Bregenz, Wien July 2009
Unterstützt wird diese Farbdramaturgie von der geradezu genialen Lichtregie Fabrice Kebour.
« This is supported by the simply brillant color dramaturgie of Fabrice Kebour »
Suedkurier.de 25 July 2009
…Pountney setzt den in der Oper verankerten Konflikt von auf Verbot und Verzicht basierender abendländischer Kultur im Gegensatz zu einer hedonistischen "Naturreligion" in eine schlichte Bildsprache um, die vor allem durch die famose Lichtregie (Fabrice Kebour)...
«...Pountney sets the conflict embodied in the opera based on prohibition and waiver of Western culture, in contrast to a hedonistic "nature religion" into a simple visual language, especially through the splendid lighting (Fabrice Kebour)...»
Badische Zeitung Alexander Dick 25 July 2009
Fabrice Kebour fait le reste, c’est-à-dire tout, avec ses lumières.
«Fabrice Kebour does the rest, meaning everything, with his lighting »
Lestroiscoups.com Olivier Pansieri 14 Juillet 2009
"…the work of Fabrice Kebour surely established the fantastic nature of the sets and costumes."
Musikweb-international.com Michael Milenski 8 January 2009
"…la mise en scène de Jean-Louis Martinoty sur fond de nuit brumeuse et des lumières oniriques et féeriques de Fabrice Kebour ..."
Classiquenews.com Benito Pelegrin 12 December 2008
"L’imagination débridée des costumes de Daniel Ogier et la magie des éclairages changeants de Fabrice Kebour font le reste. "
Resmusica.com Michel Thomé 26 June 2008
"Le visuel ne manque pas de séduction, en particulier grâce aux formidables éclairages de Fabrice Kebour : à d’immenses murs modulables aux deux premiers actes succède une clairière passée à coupe claire dans le troisième non sans un retour au décor initial au quatrième. La beauté des effets créés par la brume artificielle mérite d’être soulignée, au même titre que les très nombreux costumes conçus par Richard Hudson. "
Concerto.net Sébastien Foucart May 2008
"Dans un décor harmonieux que baignent de superbe lumières, des costumes seyants, les protagonistes vont leur vie dans l'alacrité d'un quotidien qui s'ouvre parfois sur la nuit de la déraison.”
Le Figaro Armelle Héliot 24 Septembre 2007
Fabrice Kebour's ingenious lighting, which brands the stage with a Rorschachian hammer and sickle-shaped blob at the start of Act 3”
The Independent By Anna Picard 25 February 2007
“…but such is his production's flamboyant theatricality, stunningly lit by Fabrice Kebour, that the essence of the factional wrangling is vividly communicated, and the climactic scenes of Ivan Khovansky's harem and the Old Believers' mass suicide are visually quite magnificent.”
mais telle est la théâtralité flamboyante de sa production, étonnamment éclairée par Fabrice Kebour, où l'essence de la querelle entre factions est vivement communiqué, et les scènes climatiques du harem d'Ivan Khovansky avec le suicide de masse des vieux-croyants sont visuellement magnifique .
The Telegraph Rupert Christiansen 19 February 2007
“…les éclairages changeants et parfaitement maîtrisés de Fabrice Kebour sculptent l'ensemble avec beaucoup d'à-propos.”
Musicals-Unlimited Claudia Bauer Püschel 24 April 2005
“…une excellente mise en valeur des parties intimistes, notamment par les superbes éclairages de Fabrice Kebour.”
La Libre Belgique Martine D. Mergeay 16 July 2004
“…but such is his production's flamboyant theatricality, stunningly lit by Fabrice Kebour, that the essence of the factional wrangling is vividly communicated, and the climactic scenes of Ivan Khovansky's harem and the Old Believers' mass suicide are visually quite magnificent.”
Lyon Figaro Gérard Corneloup 13 March 2004
" La mise en scène d’Hélène Vincent a du punch. Elle tire un bon parti du décor (Tim Northam) à l’aide de lumières subtiles (Fabrice Kebour)."
L’Humanité Jean-Pierre Léonardini 3 Décembre 2001
" …Les réalisateurs, habitués du lieu, ont conçu un spectacle de toute beauté… que les lumières subtiles de Fabrice Kebour viennent teinter de couleurs pâles, suffisantes pour caractériser les lieux du drame. "
L’Humanité Philippe Gut 14 August 2001
" …Puissante scénographie, lisibilité immédiate qui se retrouve dans les éclairages de Fabrice Kebour pour cette histoire d'amour, de guerre et de mort."
Le Monde Pierre Moulinier 3 August 1999
"Les éclairages de Fabrice Kebour sont raffinés. Quelques scènes sont d'une grande beauté visuelle, telle que l'apparition de la lune au 1er acte baignée d'une lumière bleutée vraiment irréelle. Cette mise en scène est peut-être ce que nous avons vue de mieux en ce lieu..."
Concerto.net Marc Ferré July 1997
"Tout au long du spectacle, les éclairages de Fabrice Kebour jouent un rôle essentiel, interprétant les indications de Wagner, que les décors stylisés de Johan Engels illustrent sans les trahir." 
Opéra International Bruno Villien Decembre 1996
"...La magia delle luci di Fabrice kebour accompagnerà tutto il ciclo del Ring."
Radiotre Roberto Grassi 21 Octobre 1996
"...durant le prélude, la salle est baignée et bercée par les flots du fleuve portés sur les ailes d'un laser turquoise jouant sur des volutes de fumigènes. Le rayon s'élève peu à peu jusqu'au dernier balcon en sorte que toute la salle se trouve plongée au fond du Rhin au moment précis où apparaissent ses trois filles. C'est efficace et poétique à la fois."
Le Figaro Jacques Doucelin 15 Octobre 1996
"La si courte scène de la caverne, où le plancher se lève, et la remontée vers le soleil, avec ses belles lumières, sont d'une rare poésie."
Opéra International Christophe Ghristi May 1996
Close
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2005
Molière Nomination
Best lighting designer

Camille C
Théâtre de l’Oeuvre

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2009
Molière Nomination
Best lighting designer

Baby Doll
Théâtre de l’Atelier

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2011
Molière Nomination
Best lighting designer

Pluie d’Enfer
Théâtre de la Pépinière

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2014/2015
Prix de la critique
Prix de l’Europe Francophone

Die Lustigen Weiber von Windsor
Opéra Royal de Wallonie

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2015
Nomination
Best lighting designer

Moses in Egypt
Welsh National Opera

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2024
Jana Kiepury Award Nomination
Best lighting designer

Otello
Teatr Wielki, Poznań

2004

PROJECTS

Agent :

Ifat Nesher - Creative Artists Management

ifat@ifatnesher.com

Send me a message

Agent :

Ifat Nesher
Creative Artists Management

ifat@ifatnesher.com

Send me a message