“An ingenious set design allows for a clear visualization of the different spaces: a large ring marks the dividing line between the worlds, while silver curtains separate the humans from the aquatic creatures. Stage left, an elegant spiral staircase of wrought iron also allows the characters to move vertically. The already beautiful set is enhanced by superb costumes and, in Act I, by videos evoking the undulating surface of the water, through which a vast moon is visible. In its glow, the water nymphs twirl in their flowing costumes, the three singers mingling with the dancers to illustrate the churning of the waves.”
Diapason - Julia le Brun

“One can only praise the very skillful division of the stage space. During the three acts, a baroque and monumental spiral staircase (some fifteen meters long with seventy steps!) is the only, thin bridge thrown between two essentially incompatible worlds and a symbol of a broken societal "elevator". Similarly, the gigantic ring already mentioned, located at different levels of the stage, horizontally delimits the space throughout the acts: initially surrounded by thin vertical blades with silvery reflections, it serves as a screen for the impressionistic projections of video artist Dick Straker; In the second act, this same ring seals the confined space of the wedding reception in a range of very electric greys and blues before symbolizing, by its breaking in the last scene, the eternal curse promised to Rusalka by the witch Jezibaba.

This splendid scenic and visual production, as inspired as it is effective, serves as a showcase for a remarkably cohesive and high-caliber international cast.”
Resmusica - Benedict Hévry

“At the start of this year, Rusalka enters the repertoire at the Opéra Royal de Wallonie-Liège in a visually stunning production that owes much to the collaborative work of Cordelia Chisholm for the sets, Simon Corder for the lighting, and Dick Straker for the video. Together, they create a dreamlike world befitting a fairy tale, delicately evoking both the underwater shimmer of the water nymph and the opulent palace of the prince….This harmony of gray and silver is exquisitely elegant, and the projections, never intrusive, always refined, add to the overall poetry.”
Forumopera - Tania Bracq

“It must be said that Rodula Gaitanou's staging enriches the tale with its scenic imagery. Beautiful, relevant, and coherent images.

An immense ring placed on the stage, vast curtains of fine strips, and delicate video projections with undulating images (by Dick Straker) characterize the realm of water, the realm from which the aquatic ballet of naiads and nymphs emerges, the realm that poor Rusalka longs to leave and must, alas, return to. A grand spiral staircase (set design by Cordelia Chisholm) provides access to the earthly world. The lighting (by Simon Corder) is delicate, its tones evoking water or the world, solitude or the hope for something more, paralyzed despair. A particularly powerful scene, insofar as it manifests the irreconcilable antagonism of the two worlds, is that of the wedding banquet: the silvery-hued dishes—the color of scales—are laid out on an immense table. The guests, snickering at Rusalka's silence—which they don't realize is fatal—gorge themselves—in a cruelly dark humor—on maatjes, those small herrings eaten properly, swallowing them head down, holding them by the tail. Fish swallowed in front of the fish-woman. 

The images are therefore ideal for the singing to flourish. How beautiful it is—mad with hope, expectation, disillusionment, and despair.”
Crescendo Magazine – Stéphane Gilbart

“A real staging challenge, the versatility of the underwater movements requires a certain amount of magic. Director Rodula Gaitanou confronts this scenic tour de force with a symbolist and poetic decor (Cordelia Chisholm - also costumes). Taking up the key themes of the world of mermaids, the brilliance of the waves is materialized by long silver wires on which Dick Straker's videos are projected, ensuring the lyricism of the result. 

Vodnik (the spirit of the lake, father of mermaids) is represented with austerity by Evgeny Stavinsky. Powerful and protective, the bass imposes itself abysmal and formidable in the distribution, aided by an astonishing costume

Generous, powerful and evocative, La Rusalka recieved a deserved ovation from the Liège public.”
Olyrix – Soline Huertebise