Tosca – Opera Hedeland, Denmark, 2026
Directed by Rodula Gaitanou, Set & Lighting by Simon Corder, Costume Design by Gøje Rostrup, Conductor Carlo Goldstein.

• “This year’s set-up is overwhelming. The scenography is pompous, monumental and minimalist at the same time. We see a well-functioning setup with stairs and platforms that take advantage of Hedeland’s architecture and location – and since most of the action takes place in a church, the stage is shaped like a large cross. A word that fits well here is impressive. The interaction of the amphitheatre with the stage is thought-provoking and well-thought-out.” – Jesper Hillestrøm, kulturinformation.org, 10 August 2026

• “An important addition, before I throw Simon Corder’s set design completely under the bus, I must admit that when darkness falls, the simple, black cross structure on the round stage area actually works really well. For Corder is also a lighting designer, and with elegant spotlight control and strategically placed candelabra, the stage really came to life after the intermission, when darkness fell and the drama intensified.
  
  … Gaitanou is one of the most exciting directors on the opera stage right now… when [she] gets a free hand, there is nothing that can stop her magnificent portraits of women, which have become legendary. So when I heard that Opera Hedeland had once again been visited by the Greek director, expectations immediately skyrocketed. Because of course Gaitanou was going to put her mark on TOSCA, and make Puccini’s jealous, religious and passionate heroine into her very own strong woman.
  
  … And whether our heroine ends up throwing herself over a wall, or escaping from Scarpia’s henchmen by flying out into the countryside in a dark car she had parked with the engine running – you’ll have to guess.” – Casper Koeller, sceneblog.dk, 11 August 2026

• “This “Tosca” is not only ugly in its own right, no, the ugliness is actually enhanced by the complete absence of anything even remotely Roman. Who on earth had the idea that “Tosca” should be performed here? Who would have thought that this, the most site-specific of all iconic operas, would do well in a gravel pit?” – Soren Kassebeer, Berlingske, 9 August 2026

• As good as the soloists and the music are, the set design is just as bad. Simon Corder’s simple, black cross-staircase set design, reminiscent of a cross, is simply too gaudy and minimalist. We don’t feel like we’re in Rome, and none of the action locations get their due. Corder was also responsible for the performance’s lighting design, and here he manages to create a little more life when the Hedeland landscape and the light play together. However, that doesn’t change the fact that the basic set design doesn’t work.” – Christian Skovgaard Hansen, Ungt Teaterblod, 8 August 2026

Un ballo in maschera – Opera Holland Park, 2026
Directed by Rodula Gaitanou, Designed by takis, Lighting by Simon Corder

• “The real coup of the production was the final ball. This took place when it was dark outside, and Simon Corder’s purple lighting made the scene extremely atmospheric. The guests began by peering through the windows in the set, before this spun around to reveal them in all their glory. Their costumes looked gorgeous, and marked them out as various historical figures who were either famous lovers, or involved in love triangles. Much of the related intrigue was played out in the dancing, with the effective routines, choreographed by Steve Elias, being executed to a high standard.” – Sam Smith, music OMH, 1 August 2026

Traviata – Opera Holland Park, London, 2025
Directed by Rodula Gaitanou, Designed by Cordelia Chisholm, Lighting by Simon Corder

• “Cordelia Chisholm’s lavish period sets and costumes are top of the range. Simon Corder’s resonant lighting shows them off to their best advantage and is equally well attuned to the work’s emotional trajectory.“ – George Hall, The Stage, 21 July 2025

The Accountants – Aviva Studios, Manchester, 2024
Directed and designed by Keith Khan, Music by Somatic, Video by idontloveyouanymore, Lighting by Simon Corder. With Xiexin Dance Theatre (China) and Terence Lewis Contemporary Dance Company (India).

• “The Accountants is one of my favourite things I’ve seen so far this year and by far my favourite thing I’ve seen at the Aviva Studios. I can’t wait to see it again, and I urge you to see it too.” – Jennifer Roberts, Lost in Theatreland, 10 May 2024

• “It should also be highlighted how good Simon Corder’s lighting design is, …” – James Tradgett, adventuresintheatreland.com, 10 May 2024

• None of this is helped by Simon Corder’s lighting design which steadfastly refuses to guide the eye or assist the mood” – Martin Thomasson, Quays Life, May 2024

• “with follow spots and much more of brilliance from lighting designer Simon Corder” – Robert Beale , Theatre Reviews North, 8 May 2024 – [SC – there were no follow spots…]

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, forumopera.com, 1 February 2024

La fanciulla del West – Opera Hedeland, 2024
Directed by Rodula Gaitanou, Set & Lighting by Simon Corder, Costume Design by Gøje Rostrup, Choreography by Dina Lorentzen, Conductor Carlo Goldstein.

• “Set designer Simon Corder makes exemplary use of the beautiful surroundings, and we also get a well-functioning watermill and stones and gravel in beautifully coordinated colors. Simon Corder is also responsible for the performance’s breathtaking lighting design, which takes into account the changes in natural light. Costume designer Gøje Rostrup also shows considerable color sense, and makes the variegated gold diggers a feast for the eyes.”
  
  For the stage director Rodula Gaitanou, the performance will be a new highlight, and for Opera Hedeland, the performance is an unequivocal triumph – among the greatest in recent times.” – Michael Soby, cphculture.dk, August 2024

• “The smell of wet earth, sand, gravel and cowboys is what awaits you when you take your first look at the magnificent scenography, which in addition to the large wooden staircase-covered roof of the orchestra pit, the large piles of gold mine gravel and the wooden benches in Minnie’s saloon, also includes the most beautiful view over the lake in the gravel pit where Opera Hedeland is located.” – Casper Koeller, sceneblog.dk, 14 August 2024

• The opera’s plot fits well with the rawness of Hedeland Amphitheatre and the surrounding landscape and lake, which set designer Simon Corder makes excellent use of, considering the gold mining environment with stones, water mill and Minnie’s bar. Gøje Rostrup’s costumes are also excellently attuned to the credible western theme. – Christian Skovgaard Hansen, Ungt Teaterblod, 12 August 2024

• “The Girl from the West” takes place in a gold mining environment around 1846. The set design and costumes are beautiful and harmoniously complement the surrounding splendors of Hedeland. There are stones in piles, brown sawdust and an active water mill, which is probably washing the stones and gravel clean to perhaps reveal some gold nuggets. The costumes are dusty and brown like in a real western. The director, set designer and costume designer are working together for the third time in Hedeland, and it works beautifully with the Danish Gøje Rostrup as costume designer.” – Ulla Strømberg, kulturkupeen.dk, August 2024

• Jack Rance does not accept a refusal and incites the townspeople to a lynch mob, but Minnie, with her kindness, manages to bring the crowd to reason. Together with her beloved, she sets off – not into the sunset – but through Simon Corder’s overwhelmingly beautiful lighting of the landscape behind the stage. The world is open to those who dare to believe in great love.
  
  The Girl from the West offers several beautiful singing performances, which can be enjoyed in the beautiful scenic universe in beautiful interaction with the natural surroundings and Puccini’s magnificent music. – Rie Hammer, iscene.dk, 15 August 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