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

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….

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

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.

MacPhie radiated joy and ecstasy…

One must also mention the performance of the beautiful Caroline MacPhie in the (far too brief) role of a young girl…

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

…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.

MacPhie sings with haunting sensitivity and emotional engagement… This lovely disc marks the arrival of a fine young recitalist.

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.