Gary Marder Lighting Design
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Gary Marder’s work as a lighting designer for San Francisco Opera has been a beautiful and welcome addition to the opera world, along with his positive attitude and great willingness to collaborate with his colleagues; he hasn’t let me down yet”
-David Gockley, General Director, San Francisco Opera
  Directed by Michael Cavanagh, Set and Projections by Erhard Rom

“Ain’t it a pretty night?” she muses. On a gorgeously stark set (by Erhard Rom), wonderfully limned by Gary Marder’s lighting and ravishing projections, the stars gleam, in Susannah eyes, as diamonds stitched into a velvet blanket. -Steven Winn San Francisco Classical Voice

San Francisco Opera delivers a powerful and visually striking “Susannah”

Visually, the new production was virtually faultless. Erhard Rom’s sets create a stylized naturalism, with dry, gray clapboard walls evoking the rustic milieu of the poor Tennessee town, enhanced by projections of its green hills and valleys. A towering cross, later seen in empty outline and with glowing light, serves as a silent sentinel, a stark visual for the abuse of religion that leads to Susannah’s tragedy. Gary Marder’s lighting was exemplary…-Lawrence A. Johnson The Classical Review

Madame Butterfly 
Directed by Leslie Swackhamer, Set, Projections and Costumes by Jun Kaneko

It must also be noted that this excellent Madama Butterfly production is sensitively lit by lighting designer Gary Marder. – James Roy Macbean, The Berkeley Daily Planet

However, aided by Gary Marder's exquisite lighting, Kaneko's sets and costumes proved to have a revelatory effect on Puccini's opera-George Heymont

And that beauty was reinforced by the spare, colorful visual design of Jun Kaneko, elegantly lit by Gary Marder. –Joshua Kosman SF Gate

 Lucia Di Lammermoor
Directed by Michael Cavanagh, Set and Projections by Erhard Rom, Costumes by Mattie Ullrich

Everything from Gary Marder’s crisp lighting to the well-arranged bloodstains on Lucia’s bridal bed is tastefully, artistically designed. –Ilana Walder-Biesanz, San Francisco Classical Voice

Gary Marder's lighting design adds appropriate emotional colour and dramatic scale and is used to great effect for casting intriguing projected shadows. Visually, the eyes are delightfully, sometimes deceitfully, dazzled.- Opera Chaser

The Barber of Seville  
Directed by Emilio Sagi, Set by Llorenc Corbella, Costumes by Pepa Ojanguren
Gary Marder’s lighting lends extra fun to the production, with romantic mood lighting for the serenade (which gives way to sudden, harsh daylight when Rosina’s response is interrupted) and red-and-green-bulbed chandeliers in Bartolo’s house. - Ilana Walder-Biesanz, San Francisco Classical Voice
Spanish set designer Llorenc Corbella created stunning visuals and made the most of a stark, white minimalist set bathed by moon and sun (lighting by Gary Marder). – Patricia Schaefer Theater-San Francisco
Production by Robert Carsen, Directed by Laurie Feldman, Set and Costumes by Michael Levine

And if I had two votes, the other would go to the design team of Producer Robert Carsen, Revival Director Laurie Feldman, Designer Michael Levine, and Lighting Designer Gary Marder for their outstanding sets, costumes, and stage effects. –Philip Hodge Splash Magazines

Luisa Miller
Production by Francesca Zambello, Directed by Laurie Feldman, Set by Michael Yeargan, Costumes by Dunya Ramicova

The central feature of Michael Yeargan’s scenic designs, enhanced by Gary Marder’s lighting, is a large statue of a horse…..-  Georgia Rowe Opera News