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The cast themselves play their parts with absolute commitment. Caroline MacPhie sings her multiple roles strongly while Timothy Dickinson’s Caronte is chilling.

Special mention must go to MacPhie’s performance as Pamina. Her solos were breathtaking and she manages to convey the many emotions required for this part.

…Caroline MacPhie, Rupert Enticknap and Damian Thantrey, all excellent.

Alongside (William) Berger, Anna Dennis’s jealously fixated Musica, Caroline MacPhie’s crystal-clear Euridice and Callum Thorpe’s decadent Plutone are outstanding.

On stage, Caroline MacPhie and Katherine Allen did excellent work… both vocally and dramatically…

…the highly accomplished Caroline MacPhie and Allan Clayton…

…Caroline MacPhie had set the standard high with a finely-nuanced performance of Fauré’s La Bonne Chanson… in which words and music blended together to great effect.

…Caroline MacPhie… put over her material with far more dramatic verve than anyone else; her Cunning Little Vixen extract, sung in Czech, was especially gripping.

This is a young soprano we will hear more of, whether it be in opera or as here, as a song recitalist, an area she was said to excel in – she does! For a young singer barely out of music college, she is remarkably accomplished and confident in her ability… It’s an extremely well-tuned light lyric soprano with a bell-like top and tonal warmth exuding from a pliant middle register. Very well projected, she didn’t impose interpretation on the songs but let it grow out of her meaningful but not overdone use of words…

Enfin, Caroline MacPhie incarne une Barbara polissonne aux aigus très clairs….

…la qualité des trois Dames (Caroline MacPhie, Heather Newhouse et Dorothea Spilger), qui allient la grâce à l’intelligence du chant et du texte.