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The Makropulos Case

Edinburgh Festival and tour

August 2012


Opera North


Tom Cairns


Hildegard Bechler


The blue light which bathes the stage as the curtain rises on Act 1 changes imperceptibly to bring out the greens by the end of the act. Bruno Poet's lighting also hints at the passing of time
link Catriona Graham, The Opera Critic

The lighting (by Bruno Poet), low-key and naturalistic, compounded the sense of veracity, moral if not actual, of this troubling opera.
link Fiona Maddocks, The Guardian

stylish set designs, ably lit by Bruno Poet, were a special highlight of the evening. ...
link David Smythe,

The detailed set, with Hildegard Bechtler’s design and Bruno Poet’s atmospheric lighting works in harmony with the opera. From Act One’s office, packed high with legal files, through the backstage area of an opera house with sumptuous red sofa, to the final, moving scenes in Emilia Marty’s hotel room, the bed draped in white material, the whole effect is one of great vision.
link Iain Sykes, The Public