“Bek Palmer, the designer, obviously had a lot of fun.”

The Times

"Magnifico’s house would not have been out of place in and expressionist movie and the same was true of it’s ashen-faced, kohl-eyed inhabitants, although Angelina’s complexion became decisively peachier when she went to Ramiro’s palace, an oasis of Klimptian efflorescence in Bek Palmer’s designs.”

Opera Magazine

“Art Nouveau-style sets showing influences both of Vienna and of the Glasgow school … The sisters' outfits were advanced fashion of the period, all alarming shapes and angles... Cinderella's ball gown by contrast was more traditional, under-stated Worth-style elegance in muted tones...rather mad wigs… adding to the air of topsy-turveydom.”

Planet Hugill

"Creative and poetic… plays between dream and reality…  linked as if by magic …  cartoonesque contrasts… the rich palette of colors,”

Olyrix

"The acute rakes, plunging angles and oppressive shadows of the Act 1 set established the grey, bleak world in which Angelina toils and suffers…  Transformation came via a starry indigo front-drop, as Angelina was whisked in a crescent-moon stagecoach … to the Klimt-like arbours, vaults and turrets of the Prince’s palace… a shimmering dazzle of gold and light.”

Opera Today