“endlessly clever and funny”
— Trav S. D, critic
“marvellously witty and engaging ”
— G. W. Brauer, academic
“witty, clever and amusing...very well crafted”
— R. Zahra, composer
“mysterious and poetic, it is rich and ominous... lots of possibilities for theatrical rendering”
— W. Koeken, intendant
“eloquent and fluid... remarkable richness of details”
— A. Alonso, dramaturg
“poetic and very clear at the same time"
— K. Koutchoukali, opera director
“philosophical, contemplative works — double meanings and multiple time layers”
— L. Julin, composer
“evokes a strong empowerment throughout... images would look extremely provocative on stage and are very inspiring for creating choreographic scenes”
— E. Merlos, choreographer
“the breath and movement of the writing culminates into a beautiful and dynamic structure.”
— N. Nourbakhsh, composer
“very directly handles complex, philosophical ideas without ever feeling reductive or didactic... the possibility of making an intelligent opera that is also generous, and not patronising, to its audience.”
— M. Rogers, composer
“ intriguing language, highly associative, vivid, full of musicality yet leaving space for the music”
— G. Sztojanov, composer
“the imagery and the structure, the flow of the words feel inherently musical”
— F. Siedat, composer
“a wonderfully creative and life-enhancing script and can imagine it would be breath-taking in performance”
“such intelligence, wit, humanity, and indeed musicality”
“very compelling.. wonderfully vivid”
“very musical and vivid… an unconventionally poetic narrative structure ”
“Ardó’s writing is spacious, dramatic and musical, yet also innovative and experimental”