….Caroline MacPhie, polissonne en diable, prête ses talents d’actrice et de soprano aguerrie.

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

…as Susanna, Caroline MacPhie reveals a clear soprano and excellent enunciation in a performance that proves to be just as sharp as the character.

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

…Caroline MacPhie dont le jeu est à saluer et à applaudir ici de même sa très brève prestation vocale.

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.


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

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

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.

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.

The talented Caroline MacPhie…

La Papagena à la jolie voix sucrée de Caroline MacPhie

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

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

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

…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.

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

What impresses about the evening is not just how well the performers accomplish their difficult tasks but how integrated the whole show is.

Three committed and accomplished soloists – Caroline MacPhie, Damian Thantrey and Rupert Enticknap…

…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.

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

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…

Corp’s three young soloists were perfect for the work… Caroline MacPhie was radiant.

…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.

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.

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’.

… Caroline MacPhie, a sparky Vixen Sharp Ears and perfect foil to Cressida Van Gordon’s charmingly urbane fox.