‘The formidable Valkyries’
‘The entrance of the Valkyrie is especially exhilarating, the effect magnified by their giddy costumes, punk and goth-inspired in a variety of colours’
‘…the company have chosen well. As have they with her sisters, a fantastically well-balanced ensemble, who delighted in the opera’s showstopping opening to Act 3.’
Die Walküre review – Regents Opera delivers the goods at the Freemasons’ Hall
‘The ‘Ritt der Walküren’ is brilliantly rendered as the Valkyrie sing and move to excellent effect.’
Orchestra, singers and conductor impress most in Regents Opera’s new Die Walküre
‘The Valkyries had clearly been well-coached and enthusiastically tackled all that Wagner demands of them, and they sounded one of the best octets I have ever heard when singing together’
Charlotte Valori for TheatreCat, Count Ory, Opera Alegría, Grimeborn 2019. Full review here
This strong ensemble boasts several eyecatching talents: …a poised and sassy Caroline Carragher excels as a gorgeously bossy Venetia Trumpington-Hewitt
Gary Naylor for Broadway World, Count Ory, Opera Alegría, Grimeborn 2019. Full review here
But it’s the women who really steal the show – Naomi Kilby, Caroline Carragher, Fae Evelyn and, in a trouser role, Alicia Gurney. Individually they are excellent, but they come into their own in harmonies that really bounce off the bare walls with control and power. And, sung in English without surtitles in an unforgiving space, I’m delighted to report that you can hear every word.
Karl O’Doherty for The Reviews Hub, Count Ory, Opera Alegría, Grimeborn 2019. Full review here
…a superb cast, a fast flowing production where energy and farce are rewarded and creating a story rather than a show. A real pity it’s got such a short run, but this first full opera from a young company is a bright jewel in an already glittering season of Grimeborn at the Arcola.
Owen Davies for PlaysToSee.com, Count Ory, Opera Alegría, Grimeborn 2019. Full review here
…the whole thing is triumphantly carried off by the sheer joie-de-vivre of the cast and the audience loved it, as did I.
Yehuda Shapiro for The Stage, Count Ory Opera Alegría, Grimeborn 2019.Full review here
Alegría’s studio production transfers the action to the Second World War and a rural English world of Dig for Victory posters, hairnets and – in the case of Caroline Carragher’s formidably cut-glass Venetia Trumpington-Hewitt – painted-on stocking seams.
There are some beautifully judged comic moments – above all when Adèle (Naomi Kilby), Venetia and her goddaughter Alice (Fae Evelyn) are peeling carrots. Singing in angelic harmony, they gradually twig that the vegetables are reminding them that they need a man in their lives.
Robert Hugill for Planet Hugill, Count Ory, Opera Alegría, Grimeborn 2019. Full review here
Full of verve, spunk and shameless innuendo the exuberant cast threw themselves into the melee with gay abandon. No stone was left unturned for an easy laugh – and there were plenty. Even Star Wars got a look in. …The trio of Adele, Venetia and Alice at the top of Act 2 was beautiful. …Ending with the irrepressible and climactic final trio and a pulse quickening ensemble, it all came off with a suitable bang. Ooh matron.
Charlotte Valori review of The Prometheus Revolution with Fulham Opera at Grimeborn Festival, August 2018. Full review here
Fulham Opera field a dazzlingly strong young cast to give Burstein’s opera its world premiere; singing is lyrical and compelling throughout, piano accompaniment from Ben Woodward richly expressive, direction from Sophie Gilpin clear and clever. Sunny Smith’s pared-down, efficient design uses a grid of steel ropes on a platform in the centre of the playing space to suggest the glass and steel of a City office, or a prison cell; the addition of blinds, swags or banners suggests meeting rooms, hotel balconies and Movement HQ. However, despite music, design and direction all being on point, The Prometheus Revolution is a severe test of performance, and ultimately only the strength, charm and skill of Fulham Opera’s company carries us through this piece…
…a cast who can act their socks off and cope magnificently with its leanest opportunities for expression, even when Burstein (regularly) sets text of one mood to music of quite another. Caroline Carragher’s Wona is outstanding; James Schouten’s Des, brilliantly vivid; Nick Dwyer’s oily Zapruder, eye-catchingly charismatic. Burstein’s inconsistent, lumpily quote-laden score … doesn’t honestly deserve them.
Robert Hugill’s review of The Prometheus Revolution, Fulham Opera at Grimeborn Festival, August 2018. Full review here
I have to commend the cast, all of whom gave sterling performances. Each singer had their own moment or moments, and there were a lot of notes. Everyone really committed themselves to the performance and to the piece, and their support for new opera is admirable.
Suzanne Frost review of Carmen with Ormond Opera, December 2017
Caroline Carragher is a Carmen of dreams. While her costume plays with the clichés of a Spanish dancer – red and black, a ruffled skirt and tumbling curls – there is little folklore to her Carmen but a real sense of danger right from the beginning. This is a dangerous woman, a selfish fighter, a calculating flirt. Somewhere between “Like a Virgin”-Madonna and Patsy from Ab Fab, she pops her gum in boredom, absentmindedly rubs her little coke nose and keeps all her aces close to her leather biker jacket. The blasé way she answers all the police questions with an obnoxious bratty “tra-la-la-la” has quite a bit of Catherine Tate’s “Am I bovvered”-comedy routine. Caroline Carragher’s powerful voice breaking through all this nonchalant attitude gives wonderful contrasts to Carmen’s volatile personality. I loved how, at Don José’s passionate and earnest declaration of love, her heart almost visibly breaks but she doesn’t know what to do with true and trustworthy emotions. I loved how, with her lifestyle being always close to danger, the idea of looming death is so realistic, and superstitious beliefs so deeply anchored in gypsy culture, that Carmen almost goes looking for death to fulfil the prophecy.
Mark Aspen – Carmen review, December 2017
Mark Aspen review of Madama Butterfly with Ormond Opera, November 13th 2016
Caroline Carragher was an absorbing Suzuki, Butterfly’s maid, deeply empathetic in the role. Her creamy mezzo presentation was an absolute joy to hear, and her reflection of Butterfly’s pain was full of pathos. In Carragher’s hands, we felt Suzuki’s sense of dread that she knew where it all would end.
Mark Aspen – Madama Butterfly review November 2015
Mike Smith for Arts Scene in Wales, Faust May 7th 2015 Borough Theatre Abergavenny
…The “role [of Marthe] was sung and acted by Caroline Carragher with great aplomb and fun.”
@Steven_Stokes via Twitter following Dylan Thomas Centenary Concert in Swansea, June 7th 2014:
@GeraintDaviesMP via Twitter following Dylan Thomas Centenary Concert in Swansea, June 7th 2014
Caroline Carragher 
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