Reviews 2021-

Rusalka – Royal Opera of Wallonia-Liège, 2024
Directed by Rodula Gaitanou, Set and Costume by Cordelia Chisholm, Lighting by Simon Corder, Video by Dick Straker, Choreography by Gianni Santucci, Conductor Giampaolo Bisanti.

  • …a very visually successful version which owes a lot to the teamwork of Cordelia Chisholm on the sets, Simon Corder on the lights and Dick Straker on the video. All three compose a dreamlike universe specific to the fairy tale which delicately evokes both the underwater iridescence of the mermaid and the munificence of the prince’s palace.” – Tania Bracq,, 1 February 2024

Ariadne auf Naxos – Opera North, Leeds & tour, 2023
Directed by Rodula Gaitanou, Set and Costume by George Souglides, Lighting by Simon Corder, Choreography by Victoria Newlyn, Conductor Antony Hermus

  • “It’s not so much a backstage drama of how opera-making is done as a dream of how it might be in La-La Land” – Robert Beale, The Arts Desk, 20 February 2023
  • “Glorious music beautifully performed, first class choreography, wonderfully designed set and lighting, great costumes, a little slapstick, a couple of sparing prima donnas and an audience that appreciated not just the humour but the whole presentation. What more could you ask for? … To cut a long libretto short, everything is tied up in a perfect ending complete, of course, with fireworks and where lighting designer Simon Corder tastefully brings the opera to an end. – Andrew Palmer, Yorkshire Times, 20 February 2023

Aida – Opera Hedeland, 2022
Directed by Rodula Gaitanou, Set & Lighting by Simon Corder, Costume Design by Gøje Rostrup, Choreography by Jannik Elkjær, Conductor Carlo Goldstein.

  • “Opera Hedeland’s staging of Verdi’s Aida has what it takes to shine through all the old-fashioned conformist worldviews, and blows away Hedeland’s gravel pit with Verdi’s pompous tones and the beautiful Triumphal March of the well-sounding AIDA trumpets.” – Casper Koeller , Sceneblog, 6 August 2022
  • “Another talent, Greek Rodula Gaitanou, has staged with a certain indifference to the built-in oddities. The priests and court are dressed in classic pharaonic style with long robes and golden masks, while the army people look like a modern day paramilitary group from the Arabian Peninsula. It takes place largely on the bare ground, however, with a large staircase that connects the floor to the roof of the orchestra’s oblong house, so there is the possibility of large steps both in width and in height.Once we have left the slightly bizarre,strangely stagnant big scenes in the first and second act, she beautifully folds the story down to personal crises, and they really belong.” – Henrik Friis, Politiken, 8 August 2022
  • “The Greek director Rodula Gaitanou, who in 2019 received an award for her production of Lucia de Lammermoor in Hedeland, together with scenographer and lighting designer Simon Corder and costume designer Gøje Rostrup, has created a relatively minimalist setup that is not particularly “Egyptian” or”Ethiopian”, but works. However, best after the intermission, when darkness has descended and with light an intimate space can be created around the main characters of the performance, and the character of the opera as a chamber play becomes clear. The scenography is beautiful in all its simplicity.” – Anne Holm, Ascolta, 5 August 2022
  • “…, we got sweeping ensemble pieces with choreography, blowing fabric and gold so it just beats – which stood in strong contrast to the enslaved women dressed in red dresses à la “Handmaid’s Tale” and the Ethiopian prisoners of war, all wearing the same shade of blue in uniform. It was a play with colors that supported music and narration. Well thought out by scenographer Simon Corder and costume designer Gøje Rostrup.” – Henriette Devantier, Ungt Teaterblod, 7 August 2022