AIDA-Sarasota Opera, 2016

“…and lighting by Ken Yunker, was consistently compelling, bringing visual and spatial relationships to the Opera House stage we had not seen previously and probably considered impossible…”


COSI FAN TUTTE-Sarasota Opera, 2016

“Lighting designer Ken Yunker gave us a subtle sense of time, with some beautiful lighting.”

The Observer

FIDELIO-Sarasota Opera, 2016

“…Ken Yunker’s lighting let us see into the subterranean depths of the dungeon and feel its damp, cold walls and scurrying rats.”

The Observer

LA BATTAGLIA LEGNANO-Sarasota Opera, 2016

“Lighting, best when it’s so natural it fails to grab your attention, was the work of Ken Yunker”


“Ken Yunker’s lighting was suitably smoky and atmospheric, particularly in the interior scenes as they set off Dean’s scenic designs.”

The Observer

LA BOHEME-Sarasota Opera, 2015

“…a fresh vibrant look, with Ken Yunker’s lighting giving the stage the sense of an impressionist painting, straight out of Paris.”


“…magical lighting by Ken Yunker.”


“…and Ken Yunker’s lights subtly and prettily evoke mood, the seasons and the time of day.”

Bradenton Herald

TIGER STYLE!-Alliance Theatre, 2015

“Ken Yunker’s lighting is all top -notch.”

The Altanta Journal-Constitution

LE NOZZE DI FIGARO-Atlanta Opera, 2015

“Susan Benson’s sets...under Ken Yunker’s summery lighting gives the work a lighter-than-air visual...”

The Altanta Journal-Constitution

TOSCA-Sarasota Opera, 2015

“In the last act…with the ceiling sparkling with stars, was indelible…To see the subtle light changes from dusk to dawn with the dome of St. Peter’s in the distance was sheer magic.”

Brooklyn Daily Eagle

MADAMA BUTTERFLY-Florida Grand Opera, 2015

“Particularly beautiful was the long intermezzo between acts II and III, a moment of intense poetry underlined by the beautiful lights of Kenneth Yunker.”

Opera News

“The spectacular lighting design by Kenneth Yunker included stars in the sky and fireflies evoking magic.”

South Florida Classical Review

“ designer Kenneth Yunker charts the sunset, the emergence of stars in the night sky and then the inevitable sunrise with its metaphorical light of truth.”

South Florida Theatre League


“...brought to vivid life against this gorgeous backdrop through Ken Yunker’s exquisitely conceived lighting design.”

Aria Magazine


“...the rising above in a halo of light to pledge themselves for eternity was transcendent. All the elements of lighting, thanks to Ken Yunker...made for some of the best theater yet in this opera season.”


“And Ken Yunker’s lighting is pure stage-craft, taking us from storm-whipped seas into a Vermeer-like interior of a seafarer’s home and, finally, that transfixing moment when the ghosts of the ship come alive. All together, they make this a thrilling, chilling, captivating opera.”

The Observer

IL TROVATORE-Sarasota Opera, 2014

“ by Ken Yunker to frame a cloud moonlit night..., this scene was perfection”


“Ken Yunker’s lighting captured the right time of day, mostly nighttime, with enough darkness to be somber and enough light in the right places to illumine the characters.”

The Observer

Sarasota Opera winter season, 2014

“Lighting by the talented Ken Yunker was stunning in all the operas. He must have spent luxurious hours studying the sumptuous painting collection of Rubens and his contemporaries...”

Notes on Notes-Leslie Kandell

THE GELLER GIRLS-The Alliance Theatre, 2014

“Those sets are impeccably lit by the expertise of Ken Yunker.”

ArtsNash News-Reviews-Features

“This is a show with...some incredible lighting effects by Ken Yunker.”

Atlanta Cultural Arts Reviews

TURANDOT-Sarasota Opera, 2012

“Yunker’s lighting and color (look for the magnificent green night sky with twinkling stars that blooms into a renewed dawn in the third act!)...makes this a miniature giant-of-a-production.”

The Observer

“Ken Yunker’s aqua-toned lighting makes Turandot’s palace garden look like a Florida seaside mansion…”

Tampa Bay Times


“Ken Yunker’s lighting...made this an absolutely smashing and professional looking project.”

The Observer

H.M.S. PINAFORE-Opera New Jersey, 2012

“The cloud studded sky shifts from day to moonlit night...Ken Yunker has done great work in creating the very effective look and feel of the production.”

Central Jersey Entertainment

THE MARRIAGE OF FIGARO-Opera Santa Barbara, 2012

“The lighting was especially effective and offered a crystallized realization of this ‘commedia per musica.”

Casa Magazine

CARMEN-Sarasota Opera, 2012

“Ken Yunker’s lighting grows more impressive with each season and this show was no disappointment, particularly in Act III in the mountains.”

Venice Gondolier

“...Ken Yunker’s subltle dusk and dawn lighting and all the effects of the haunting card scene and the bull ring in Seville mad for a visual treat!”


MADAMA BUTTERFLY-Sarasota Opera, 2011

“ the new lighting design by Ken Yunker, the Japanese house, gardens and view of the bay have come alive.  Yunker has recreated dusks, dawns, shadows, stars and sunlight so beautiful that Homer’s “Rosy Fingered Dawn,” written some 3,000 years ago, seems to have been the inspiration. Yet the exquisiteness of this production doesn’t detract from the other important things happening on this stage.”

The Observer

THE CONSUL-Opera New Jersey, 2011

“ under totalitarianism is magnified into two nightmare scenes that unleash grotesque distortions of Magda’s fears. The terror is amplified by the lighting effects of designer Ken Yunker. Yunker also gives visible form to the toxic fumes of the gas stove, which kill Magda, by ascending waves of pale blue light.”

US 1 Newspaper

I LOMBARDI-Sarasota Opera, 2011

“Ken Yunker’s lighting was incredible, especially during Oronte’s aria from heaven.”

Music Web-International

“Ken Yunker is nothing short of brilliant in his lighting designs, especially in the Holy Sepulchre scene in which Oronte returns behind a diaphanous scrim that seems lit by Michelangelo himself.”

The Observer

“Ken Yunker’s lighting was full of excellent subtle touches”

Opera News

THE CRUCIBLE-Sarasota Opera, 2011

“...and the final image of nooses against a haunting lighting design is something few will forget.”

The Classical Music Network

“...benefited from magical lighting by Ken Yunker...”

Herald Tribune

LA BOHEME-Sarasota Opera, 2011

“The stage designs, as lighted by Ken Yunker, they are both magical and realistic...”

Herald Tribune

“A Monet daybreak behind the taverna in the third act reinforced the Parisian environment”

Naples News

STEALING DIXIE-Theatre in the Square, 2010

“Owen’s entry, beautifully lit by Ken Yunker, is a stunning moment recalling a Goya vision of hell”

Atlanta Journal Constitution

“ of the best lighting designs of the year, in my humble opinion.”

Atlanta Theatre Buzz

HANSEL AND GRETEL-Sarasota Opera, 2010

...impressive lighting made this Grim tale appropriately bewitching and bewitched.”

The Observer


“...Ken Yunker’s lighting was a shining example of perfection in both sets.”

The Observer


“Ken Yunker’s lighting design complemented the effective Act I set by creating a spooky, cinematic atmosphere...The Dutchman and his spectral crew appeared truly ghoulish.”

Opera News

“...Ken Yunker lit the ballad in a way reminiscent of the paintings of Vermeer.  The tempestuous introductory images evoke Rembrandt’s storm paintings, and the rustic, warm glow of the land scenes similarly suggest the Dutch masters.”

Creative Loafing

L’ELISIR D’AMORE-Atlanta Opera, 2009

“the lighting effects of Ken Yunker brought wonderful atmospheric depth to Donizetti’s Italian village.”

Opera News

LA CENERENTOLA-Fort Worth Opera, 2009

“Kenneth W. Yunker works wonders with lights.”

The Dallas Morning News

TOSCA-Sarasota Opera, 2009

“...the eye-popping final tableau for the Castel Sant’Angelo rooftop, with Ken Yunker’s evocative lighting beautifully realizing the slowly rising dawn.”

South Florida Classical Review

“Lighting, the work of Ken Yunker, provided an ominous full moon shining into the set in the second act and twilight to dawn’s first light in the final scene.”

Herald Tribune

DON CARLOS-Sarasota Opera, 2009

“Ken Yunker’s lighting designs were dazzling”

Herald Tribune

BIG RIVER-Theatrical Outfit, 2008

“Ken Yunker’s lighting is especially poetic across the spectrum of night scenes.”

Atlanta Journal-Constitution

LA RONDINE-Sarasota Opera, 2008

“...and the luminous lighting by Ken can’t help sigh with the romance of it all.”

The Sarasota Observer

I DUE FOSCARI-Sarasota Opera, 2008

“Ken Yunker’s lighting drew the whole scene together with just enough texure to transport us back to a time in which we must be thankful we didn’t live.”

The Longboat Observer

COSI FAN TUTTE-Sarasota Opera, 2008

“Ken Yunker’s lighting brings the audience into the action like a 19th-century oil on canvas.”

The Longboat Observer

RIGOLETTO-Sarasota Opera, 2008

“...impressive lighting and special effects by Ken Yunker, looks alternately supmtuous and forbidding, often reminding the viewer of pointings of the period...”

Sarasota Magazine

“...delightfully created the threatening atmosphere of the abduction... and the final act’s violent storm.  Lightning in the night sky synced perfectly with the ripping winds and rolling thunder.”

Herald Tribune

ATTILA-Sarasota Opera, 2007

“But it was Ken Yunker’s exquisite lighting that brought the trees and rocks into focus through frightening lightning and dazzling sunrises.”

Longboat Observer

“beautifully lighted by Ken Yunker”

Herald Tribune

HALKA-Sarasota Opera, 2007

“Ken Yunker’s lighting was nicely evocative.”

Opera News

“ by Ken Yunker was rich and eloquent.”

Longboat Observer

MADAMA BUTTERFLY-Sarasota Opera, 2007

“...beautifully illuminated by Ken Yunker.”

Herald Tribune

“And Ken Yunker’s lighting of the house and its view of sloping hills and glistening ocean made the setting real, with breathtakingly beautiful colors.”

Sarasota Observer

“Kudos to Ken Yunker for the evocative lighting.”

St. Petersburg Times

SALOME-Opera Company of NC, 2006

“Ken Yunker’s subtle, ever-changing lighting...completed the company’s most impressive physical production.”

The News & Observer

DON GIOVANNI-Opera Company of NC, 2006

“And really, would wigs and lace have topped the impact of Kenneth Yunker’s dramatic lighting?”

The News and Observer

FLYIN’ WEST-National Black Arts Festival/True Colors Theatre, 2005

“Lighting Designer Ken Yunker has done a magnificent job of creating the canvas of the Kansas sky and prairie.”

Creative Loafing

TOSCA-Opera Company of North Carolina, 2005

“Star billing must also go to Ken Yunker’s lighting design.  The subtle and unobtrusive way he shifted the plot unfolds, was masterful.  And his ‘real-time’ sunrise in Act III with the dome of St. Peter in the background through the haze was stunning.”

Classical Voice of North Carolina

“Ken Yunker’s lighting gave depth to all three acts, the slow dawn in Act III a marvel of brightening clouds and sun rays.”

The News & Observer

FIDELIO-Atlanta Opera, 2005

“poetic, ghostly lighting”

Opera News

“In scene after scene, Ken Yunker’s effective lighting turns the intimidating edifice into a ghostly hell.”

The Atlanta Journal/Constitution

LA BOHEME-Atlanta Opera, 2005

“Kenneth Yunker’s lighting design perfectly reflected the moods of the play, employing warm yellow and pinks to highlight the moments of romantic closeness, while utilizing cool blues and greens to reveal the bitterness of illness, mortality and the encroaching winter chill.”

Emory Wheel

EUGENE ONEGIN-Atlanta Opera, 2004

“Ken Yunker does a phenomenal job lighing the various locations on this generally simple set, making the viewer gasp with pleasure every time the curtain rises.”

The Atlanta Journal/Constitution

DON GIOVANNI-Atlanta Opera, 2004

“Lighting designer Ken Yunker convincingly morphs the single-set unit...a truly artful demonstration of maximum results from minimal means.”

The Atlanta Journal/Constitution

MADAMA BUTTERFLY-Atlanta Opera, 2004

“Lighting director Ken Yunker, whose vision gets more psychologically acute with each opera, made the plain set come alive with mood enhancing pinks, pale oranges and deep blues  This set and lighting scheme were uncommonly easy on the eye.”

The Atlanta Journal/Constitution

CARMEN-Atlanta Opera, 2004

“Of note is light designer Kenneth Yunker’s subtle lighting changes throughout the scenes, adding an almost imperceptible sense of motion and urgency to the plotline.”

Emory Wheel

Best of Atlanta-Creative Loafing, 2003

“BEST LIGHTING OF A DIVA-In theater, lighting noticed is usually lighting overdone...Ken Yunker is Atlanta’s exception to the rule.  The resident lighting designer for the Atlanta Opera and in-demand bulb man all about town, he sculpts the stage like the Rodin of photons.  His carefully shaped shadows turned the Flying Dutchman’s ship into a nautical nightmare.  Of Salome’s sky he made astrologers cry.  He painted fairy tale dreams with gold and green beams in the forest of THE MAGIC FLUTE.  You notice the gorgeous glow of his creations, but the spotlight stays always on the diva.

AIDA-Atlanta Opera, 2003

“...Ken Yunker’s lighting, which, in memorable moments, was almost poetic.  In the first act, as Aida sang alone of love and turmoil, a dimming pool of light seemed to envelop and crush her, foreshadowing the opera’s tragically beautiful conclusion.”

The Atlanta Journal/Constitution

FAIR AND TENDER LADIES-Theatre in the Square, 2002

“It is lit (by designer Ken Yunker)in a palette of primary blues and yellows, with a cyclorama adding emotional underscoring and beautiful sky scapes of a sort difficult to find in large theatres, let alone one as small as Theatre in the Square.”

Atlanta’s Theater Review

DER VAMPYR-Florida State Opera, 2002

“The lighting by Ken Yunker was excellent.  It seamlessly conveyed changes in mood as well as in time of day”

Tallahassee Democrat

TWO GENTLEMEN OF VERONA-Georgia Shakespeare Festival, 2002

“...impressed by Ken Yunker’s lighting....with dim alleys of brick and chain link.”

Creative Loafing

CANDIDE-Dayton Opera, 2002

“...Ken Yunker’s stunning lighting design splendidly aid the overall vision.”

Imact Weekly

SAMSON ET DALILA-Atlanta Opera, 1999

“Ken Yunker’s beautiful lighting design for Act I almost makes its length worthwhile...a sky full of winking stars...a lovely shower of shooting stars...a delicate-hued, imperceptible change from night to daybreak...”

The Atlanta Journal/Constitution

THE BELLE OF AMHERST-Theatrical Outfit, 1999

“...lit with subtle yet vital effect by Ken Yunker.”

The Atlanta Journal/Constitution

“You will note the lighting, which  Ken Yunker has so skillfully programed to softly and unobtrusively accent the mood swings of Emily’s digressions.  It’s pure slight of light”

The Rialto

LA TRAVIATA-Atlanta Opera, 1998

“...brilliantly lit by Ken Yunker, who somehow managed to make the Fox stage look far deeper than it is.”

The Atlanta Journal/Constitution

SUSANNAH-Augusta Opera, 1998

“The scenic design...was most assuredly supported by the well-designed lighting of Ken Yunker.”

The Augusta Chronicle

LA TRAVIATA-Augusta Opera, 1997

“Kenneth Yunker provided apt, inventive lighting design.”

Opera News

CAT ON A HOT TIN ROOF-Theatre in the Square, 1997

“...(the) set is beautifully lit by Ken Yunker who makes excellent use of shadows, and manages to depict daylight gently turning into night.”

Atlanta Theatre Weekly

TOSCA-Atlanta Opera, 1997

“Kenneth Yunker’s artful lighting enhances the action throughout, most tellingly in the realistic streaming of light into the dim church and in the transformation from starry night to dawn in the last act.”

The Atlanta Journal/Constitution

FAUST-Atlanta Opera, 1995

“Especially impressive were the...radiant vision of Marguerite at her spinning wheel and the awe-inspiring tunnel of light leading to heaven.”

The Atlanta Journal/Constitution

COSI FAN TUTTE-Knoxville Opera, 1995

“The audience...was noticeably struck by the sets, special effects, and lighting.  A drop curtain which turned out to be a magic scrim, created a multi-dimentional picture show.  As the lighting danced from one still scene to another...The surreal effect was entrancing.”

Knoxville News Sentinel

AIDA-Mobile Opera, 1995

“The lighting by Ken Yunker is extraordinarily  can actually see people on stage, even in the murky moments.”

Mobile Register

AIDA-Atlanta Opera, 1995

“Kenneth Yunker achieved many striking effects with his atmospheric lighting, among them the twinkling stars and full moon of Act III.”

The Atlanta Journal Constitution

ORPHEUS-Lyric Opera of CLeveland, 1993

“Kenneth Yunker’s vivid lighting adds theatrical nuance.”

The Cleveland

LA FINTA GIARDINIERA-Lyric Opera of Cleveland, 1992

“ gorgeous a scene as an opera-goer will ever see...Lyric Opera’s distinctive stage lighting.  It is exquisite. It is beyond exquisite.”


COSI FAN TUTTE-Eugene Opera, 1989

“Ken Yunker’s lights wrought a special poetry...many of the special effects received their own rounds of deserved applause.”

The Register-Guard

ELIXIR OF LOVE-Eugene Opera, 1989

“...lighted by...Ken Yunker, warmed the audience with its evocation of 19th century oil paintings of Italy.”

The Register-Guard

A VIEW FROM THE BRIDGE-Synergy Theatre Company, 1987

“Ken Yunker’s lighting design is perfect, the lamps of the Carbone apartment yellow with age.  Especially effective is Eddie’s telephone betrayal scene, illumined by only one overhead spot, which spreads a circle of guilt where Eddie stands at the center.”