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

Caroline MacPhie portrays in this version a Glasha who is a cleaner rather than a servant. Her diction is executed effectively and she carries her high notes well whilst she toils away…

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

Caroline MacPhie portrays a mischievous Barbara with clear high notes…

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

Caroline MacPhie’s lyrical performance was delightfully seductive.

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, 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 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….

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