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.

…the quality of the three ladies, Caroline MacPhie, Heather Newhouse and Dorothea Spilger, who bring grace and intelligence to the vocal line and the text.

The lovely, sweet toned Papagena, Caroline MacPhie…

MacPhie radiated joy and ecstasy…

The real modernism came in a taster of Josephine Stephenson’s ‘Les constellations, une théorie’, bewitchingly articulated by Gillian Keith and Caroline MacPhie in perfect accord with Cottis and the orchestra – the most surprising highlight. All works were sung in their original language – Stephenson’s in excellent French….

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

Her bright, light lyrical soprano voice… also has dramatic bite. The performance is imaginative and eloquent…

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.

Caroline MacPhie sang Berenice’s difficult music surely and truly….in the aria she spun her notes into touching, lovely lines.

Three committed and accomplished soloists – Caroline MacPhie, Damien Thantrey and Rupert Enticknap – move like priests or mentors among us, reciting and reflecting.