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
 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 WN.com
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
 
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
Mephistopheles
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
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