Jean-François Lattarico Classique News (Une Nuit à Venise, Opéra de Lyon, 2016)
….Caroline MacPhie, polissonne en diable, prête ses talents d’actrice et de soprano aguerrie.
Damien Dutilleul Olyrix (Une Nuit à Venise, Opéra de Lyon, 2016)
Enfin, Caroline MacPhie incarne une Barbara polissonne aux aigus très clairs….
Sam Smith Music OMH (The Marriage of Figaro, West Green House, 2015)
…as Susanna, Caroline MacPhie reveals a clear soprano and excellent enunciation in a performance that proves to be just as sharp as the character.
Gérard Ferrand Le Forum ODB Opéra (Die Gezeichneten, Opéra de Lyon 2015)
On soulignera également les interprétations d’Aline Kostrewa en Martuccia et du jeune ténor Jan Petryka….et celle de la belle Caroline MacPhie dans la (trop) courte intervention d’une jeune fille
Toute la culture toutelaculture.com (Die Gezeichneten, Opéra de Lyon, 2015)
…Caroline MacPhie dont le jeu est à saluer et à applaudir ici de même sa très brève prestation vocale.
John Gilroy Cambridge News (Handel arias with the Mozart Festival Orchestra, Cambridge Corn Exchange 2015)
Crispian Steele-Perkins was joined by prize-winning soprano Caroline MacPhie in a performance of two arias by Handel, Eternal source of light divine and, from Samson, Let the bright seraphim, in the latter, especially, two virtuosi complementing each other perfectly in register and style.
It was Caroline MacPhie’s solo performance of Lascia ch’io pianga from Rinaldo, however, which demonstrated how Handel’s supreme creativity when married to this kind of breathtaking voice can produce those overwhelming effects for which he is so famous.
Rupert Christiansen 4*, The Daily Telegraph ('Love said to me...', Debut recital album, released 2014)
MacPhie sings with haunting sensitivity and emotional engagement….This lovely disc marks the arrival of a fine young recitalist. For the full review please click here
Ekkehard Pluta Klassik Heute ('Love said to me....', Debut recital album, released 2014)
Caroline MacPhie erweist sich in ihrem Debut-Album als eine interessante Interpretin, mit der man auch in Zukunft rechnen darf. Der Vortrag der Sängerin ist imaginativ und eloquent….For the full review please click here
Barbara Maxwell Whats On Stage (The Magic Flute, Bristol Tobacco Factory, 2013)
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.
Gerry Parker Bristol Post (The Magic Flute, Bristol Tobacco Factory, 2013)
The Queen’s daughter, the cause of the friction between the Queen and Sarastro, was portrayed beautifully by Caroline MacPhie. She brought to the role a lovely mixture of obedience to her mother, and the emerging desires of a bright young woman. It was no wonder that Nicholas Hurndall Smith’s nicely-understated Prince Tamino fell in love with her.
Alexandra Hamilton-Ayres Bachtrack (Messiah, Bristol Old Vic, 2013)
The talented Caroline MacPhie…
Jean-Charles Hoffelé classicconcert.com (Die Zauberflöte, Opéra de Lyon, 2013)
La Papagena à la jolie voix sucrée de Caroline MacPhie
Fabrice Malkani forumopera.com (Die Zauberflöte, Opéra de Lyon, 2013)
…la qualité des trois Dames (Caroline MacPhie, Heather Newhouse et Dorothea Spilger), qui allient la grâce à l’intelligence du chant et du texte.
Richard Morrison The Times (Monteverdi 'Orfeo', Silent Opera, 2013)
Alongside (William) Berger, Anna Dennis’s jealously fixated Musica, Caroline MacPhie’s crystal-clear Euridice and Callum Thorpe’s decadent Plutone are outstanding.
Patrick Brennan Whats On Stage (Monteverdi 'Orfeo', Silent Opera, 2013)
The cast themselves play their parts with absolute commitment. Caroline MacPhie sings her multiple roles strongly while Timothy Dickinson’s Caronte is chilling.
Michael Cookson Seen and Heard International (Song of the Angel, Lancashire Sinfonietta, 2012)
…Always an audience pleaser if performed well is the familiar aria Let the Bright Seraphim from Handel’s oratorio Samson. Caroline MacPhie was joined by trumpeter Tim Barber to magnificent effect with the soprano’s bright elegance complementing the pure toned trumpet in a glorious stream of sound.
Handel’s joyous Ode Eternal Source of Light Divine, written in 1713 for the birthday of the British monarch Queen Anne, certainly has the power to move the listener. The gently virtuosic lines of Caroline MacPhie’s soprano and Tim Barber’s trumpet floated gloriously above the strings combining together to delightful effect.
Richard Fairman Financial Times (SUM, Royal Opera House, 2012)
…Caroline MacPhie, Rupert Enticknap and Damian Thantrey, all excellent.
The Stage (SUM, Royal Opera House, 2012)
What impresses about the evening is not just how well the performers accomplish their difficult tasks but how integrated the whole show is.
Rupert Christiansen The Daily Telegraph (SUM, Royal Opera House, 2012)
Three committed and accomplished soloists – Caroline MacPhie, Damian Thantrey and Rupert Enticknap…
Roger Jones Gloucestershire Echo (Fauré 'La bonne chanson' and Venables 'Remember This' at Cheltenham Festival, 2011)
…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.
Sarah Urwin Jones The Times (Carmen, Scottish Opera, 2010)
On stage, Caroline MacPhie and Katherine Allen did excellent work… both vocally and dramatically…
Rachel Clegg Sheffield Telegraph (Recital, Sheffield in the Round, 2010)
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…
Bob Briggs Seen and Heard International (Szymanowksi 'Stabat Mater', Cadogan Hall, 2009)
Corp’s three young soloists were perfect for the work… Caroline MacPhie was radiant.
Richard Morrison The Times (Final, Kathleen Ferrier Awards, 2009)
…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.
Rupert Christiansen The Daily Telegraph (Final, Kathleen Ferrier Awards 2009)
But my personal favourite was the Lancashire-born Caroline MacPhie. Her light-lyric instrument was clean-toned and perfectly tuned, and she delivered an enterprisingly original programme… with flair, style and musical imagination.
Andrew Porter Opera Magazine (L'occasione fa il ladro, Royal Academy Opera, 2009)
The Academy cast was packed with promise… Caroline MacPhie sang Berenice’s difficult music surely and truly… in the aria she spun her notes into touching, lovely lines’.
Lynne Walker Opera Now (The Cunning Little Vixen, RNCM, 2006)
… Caroline MacPhie, a sparky Vixen Sharp Ears and perfect foil to Cressida Van Gordon’s charmingly urbane fox.