“Like the opera itself, the brilliant set design by Erhard Rom in this magnificent WNO production combines both classical and modernist features”

Dr. Mark Dreisonstok, MD Theatre Guide

“Set designer Erhard Rom…enhanced Zambello’s sharp focus on performance with restraint that never felt timid. Rom’s set evokes a moment of consequential stillness in an era in active collapse.”

Michael Andor Brodeur, Washington Post

“Erhard Rom’s gray-dominated unit set, a study in angularity, evoked a house of shards. Spiky remnants from Agamemnon’s former palace anchored one side of the stage, a huge pillar the other, with a pile of earthen rubble in between. In the rear, a slanted ramp led to the new royal quarters (and served as a convenient place for murders to be carried out in full view).”

Tim Smith, Opera News

“Erhard Rom’s set is an interesting mix of classical and modern…… the set is massive and modernist, with structures at disquieting angles, suggesting to me, at least, the links between Bronze Age revenge and the revanchist nationalism of today.”

Bob Ashby, DC Theatre Arts

“The set design was stellar….Designer Erhard Rom provided a number of broad palettes for Projection Designer S. Katy Tucker to work with. The effect of their combined work was stunning.”

Darby DeJarnette, DC Theatre Arts

“Erhard Rom’s spare, industrial sets…. could easily have tilted itself right into Obsession-ad minimalism. Instead, his long, graceful lines and simple surfaces helped gently channel our attention…….I don’t usually foreground the background, but this approach to “trovatore” went a long way in making the music so lucid and vivid.”

Michael Andor Brodeur, Washington Post