“endlessly clever and funny”

— Trav S. D, critic

“marvellously witty and engaging ”

— G. W. Brauer, academic

“witty, clever and amusing...very well crafted”

— R. Zahra, composer

“mysterious and poetic, it is rich and ominous... lots of possibilities for theatrical rendering”

— W. Koeken, intendant

“eloquent and fluid... remarkable richness of details”

— A. Alonso, dramaturg

“poetic and very clear at the same time"

— K. Koutchoukali, opera director

“philosophical, contemplative works — double meanings and multiple time layers”

— L. Julin, composer

“evokes a strong empowerment throughout... images would look extremely provocative on stage and are very inspiring for creating choreographic scenes”

— E. Merlos, choreographer

“the breath and movement of the writing culminates into a beautiful and dynamic structure.”

— N. Nourbakhsh, composer

“very directly handles complex, philosophical ideas without ever feeling reductive or didactic... the possibility of making an intelligent opera that is also generous, and not patronising, to its audience.”

— M. Rogers, composer

“ intriguing language, highly associative, vivid, full of musicality yet leaving space for the music”

— G. Sztojanov, composer

“the imagery and the structure, the flow of the words feel inherently musical”

— F. Siedat, composer

“Ardó's writing is spacious, dramatic and musical, yet also innovative and experimental“

— Sinéad O’Neill, opera director