|
|
|
|
|
|
|
SIEGFRIED at New Orleans Opera, 2005
|
|
|
|
“The breathtaking backdrop by scenic designer Erhard Rom….featured a series of rear projections, which filled the stage with dazzling images that blended into each other seamlessly, often imperceptibly. Transparent flowing curtains graced the final scene of the opera, in a visual flourish that few in the audience are likely to forget.”
|
|
|
|
|
|
|
BILLY BUDD at Lyric Opera of Kansas City, 1999
|
|
|
|
| “Here was one of those rare productions where every element came together in one perfect co-ordinate, combined effort….Erhard Rom’s single set served for the entire opera…It was a night to remember and a production worthy of any operatic stage in the world.” |
|
|
|
|
|
|
|
“…hence the stylized unit set (by Erhard Rom), with it’s battered, upturned deck…Having the hanged Billy swinging in the background, in front of a huge moon, made Vere’s final soliloquy almost unbearably poignant”
|
|
|
|
|
|
|
THE MERRY WIDOW at Virginia Opera, 1998
|
|
|
|
“…so visually bewitching that one could easily leave without paying attention to the other elements that contribute to it’s success… one of the most beautiful sets in the companies history…The garden is simply stunning…At the center of all of this visual splendor is Lehar’s magnificent score, and the triumph of the production is how the designers have uncannily mirrored and enhanced the shimmering colors of the music through the sets and lighting.”
|
|
|
|
|
|
|
|
VOLPONE at Wolf Trap Opera, 2004
|
|
|
|
“Nationally known set designer Erhard Rom provided the outstanding set for Wolf Trap’s Volpone”
|
| “Rom should get an award for his economic use of this small stage” |
|
|
|
|
|
|
|
|
“Set designer Erhard Rom’s ingenious mechanical backdrops helped the production maintain it’s lively pace.”
|
|
|
|
|
|
|
|
LA BOHEME at Opera Theatre of Saint Louis, 2001
|
|
|
| “La Boheme received a near-ideal performance (June 23). Erhard Rom’s sets- the most elaborate of the season – captures the freshness of Puccini’s masterpiece" |
|
|
|
|
|
|
|
DRACULA at Syracuse Stage, 1998
|
|
|
“Erhard Rom’s scenic designs exult with symbolism of the night and the unconscious…Any subsequent Syracuse Stage shows will have to rise high to look as good”
|
|
|
|
|
|
|
|
|
NIXON’S NIXON at Merrimack Repertory Theatre, 1998
|
|
|
| “Erhard Rom’s set was the high point of the evening: a Lincoln sitting room as seen resting uncomfortably on top of the Vietnam Memorial, all underneath huge framed cartoons of both men” |
|
|
|
|
|
|
|
AIDA at Boston Lyric Opera, 1999
|
|
|
|
“The most pleasant surprise was Erhard Rom’s imaginative set…the set was superb…What a brilliant idea, on the Schubert’s small stage, to represent the Triumphal March not with an endless stream of victims in rags, but – more chilling – by lowering from the rafters a stage-filled series of incised fragments of stone depicting the battle, as on the pylons of real Egyptian Temples”
|
|
|
|
|
|
|
CARMEN at Opera Theatre of Saint Louis, 2004
|
|
|
| “Erhard Rom’s set for Carmen was brilliantly simple” |
|
|
|
|
|
|
DIE FLEDERMAUS at Virginia Opera, 2003
|
|
|
|
“The staging by scenic designer Erhard Rom was superb…Huge paintings by the Viennese Hans Makart - “The Five Senses” and “Bacchus and Ariadne” – dominated the stage. Caging and Spartan furniture in Act III suggested the prison, while the huge “Bacchus” painting hanging askew, was meant to allude to the hung-over state of most of the characters.”
|
|
|
Classical Voice of the North
|
|
|
|
MACBETH at Lyric Opera of Kansas city, 2000
|
|
|
|
“Erhard Rom’s set is splendidly grim. Soaring with rock and industrial strength concrete and I-beams…The treatment of a shattered stone church in the opening scene of the fourth act is particularly effective….With a great set with which to work, lighting designer Thomas Hase gives each scene a distinct look, most notably, pouring blood-red light on the I-beams to emphasize Macbeth’s descent into madness.”
|
|
|
|
|
|
|
RESURRECTION at Boston Lyric Opera, 2001
|
|
|
|
“BLO’s most consistently striking set designer, Erhard Rom (Aida, Postman Always rings Twice), came up with strong stage images. Under a constructivist erector-set frame, a rear aperture slides open in the black backdrop to reveal the self-absorbed hero, Prince Dmitry Nekhlyudov, getting dressed by his valet for jury duty. Later, in a flashback, the aperture reopens on a grove of birches”
|
|
|
|
|
|
|
| “Much praise should also go to the brilliantly colorful and dramatically fluid sets (a series of diagonally sliding panels combined with high wall-like, portalled, semi-transparent screens), designed by Erhard Rom, which deftly, promptly and flawlessly effected the productions many and varied shifts in time and place.” |
|
|
|
|
|
|
|
“The effective production by Leon Major combines period costumes with an abstract set of sliding panels and scrims” (sets by Erhard Rom)
|
|
|
The New York Times (Anthony Tommasini)
|
|
|
|
L’ITALIANA IN ALGERI at Boston Lyric Opera, 2004
|
|
|
|
“Designer Erhard Rom and director Leon Major…gave Italiana an interesting take, setting the opera in the 1920’s to provide ready visual metaphors for Mustafa’s obsession with acquisition and pleasure. The bey’s palace was a giant playpen, with toys and gadgets everywhere.”
|
|
|
|
|
|
|
THE ILLUSION at Geva Theatre Center, 1998
|
|
|
|
“We see Erhard Rom’s brilliantly abstract set through a broken mirror of illusion.”
|
|
|
The Democrat and Chronicle
|
|
|
|
ROMEO AND JULIET at Syracuse Stage, 2001
|
|
|
|
“Erhard Rom’s one-of-a-kind set, clearly inspired by Bulgarian artist Cristo.”
|
|
|
|
|
|
|
SWEENEY TODD at Wolf trap Opera, 2005
|
|
|
|
“Wolf Trap’s Sweeney…manages to breathe freshly. The physical environment is a departure from most productions…In this case; designer Erhard Rom conjures a warehouse of contemporary dimensions, with meat hooks suspended from the ceiling and a corrugated steel garage door that conceals Sweeney’s ghoulishly sterile shop.”
|
|
|
|
|
|
|
|
|
"The Troupe unveiled a provocative production of the Sondheim classic over the weekend that updates the action from a Victorian milieu to a modern (or post-modern), impersonal world designed by Erhard Rom."
|
|
|
|
|
|
|
|
TWELVE ANGRY MEN at Merrimack Repertory Theatre, 1999
|
|
|
|
“The set designed by Erhard Rom, is startling in its realism…With this set, there is no escape from what is being considered. It demands the attention of the audience.”
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
