LADY GREGORY 

IN AMERICA 

libretto by

COLM TÓIBÍN

music by

ALBERTO CARUSO

WEXFORD FESTIVAL OPERA 2024

National Opera House, Ireland

New Commission

“…Today's America needs to see it.” ★★★★ 

(Stephen Pritchard, The Guardian)

“…This is Tóibín’s third opera — the next one deserves a bigger investment.”★★★★☆ 

(Neil Fisher, The Times UK) 

“… Caruso’s score was beautifully constructed to meet the twists and turns of the libretto and expertly captured the changing pace of the drama. It is lively, at times playful, and possesses a pleasing forward momentum. Although it is sensitive to the characters’ situations, Caruso was careful not to allow the sound to develop a pretentious quality in an attempt to provide more depth than is actually present. On the other hand, it was far more than simple background music; rather, it was a sensitive composition that worked in partnership with the text, and which allowed the drama to bloom. It was also not without a sprinkling of engaging, easy-on-the-ear melodies, especially for choral pieces… “Lady Gregory In America” is a strong opera from two artists with a natural feel for the stage and builds upon the success of their first collaboration, “The Master,” which was premiered at the festival two years ago. Hopefully, there is a third in the pipeline.” 

 (Alan Neilson, OperaWire) 

“…It's a fascinating story… written for piano and played with fluent virtuosity by Caruso himself. 

Aiofe Spillane-Hinks delivered a lively production to Lisa Krugel’s set and costumes, with standout performances…” ★★★★ 

(George Hall, OperaNow) 

“…This one-acter is a wee gem.  Full marks from me.” 

(Donal Hurley, Edinburgh Music Review)

“…Henry Strutt’s tenor is a solid romantic lead and the Kerrigan character is believable as he grows through the opera, conquering a legacy of guilt and becoming a man…” 

(Donal Hurley, Edinburgh Music Review) 

“…With strong individual performances, especially from Jane Burnell as the actress Molly Allgood.” 

(Neil Fisher, The Times UK) 

“…A standout performance from soprano Jane Burnell as the spirited actor Molly Allgood.” 

(Stephen Pritchard, The Guardian) 

“Jane Burnell plays the beautiful Molly Allgood with a lovely soprano voice in an absolutely seductive way...” 

(Thomas Molke, Online Musik Magazin) 

“…There is a mighty performance from Henry Strutt as J.M. Kerrigan and the duets with Jane Burnell’s Molly Allgood are quite special.” 

(Noel Megahey, Opera Journal) 

“…The trios of actresses, cops, porters and reporters give opportunities for great ensemble numbers including a hilarious sextet, while the scope for romantic duets is fully exploited too.” 

(Donal Hurley, Edinburgh Music Review)