Described as a singer with ‘flair, style and imagination’ (The Telegraph), Caroline is a versatile artist, performing in repertoire from Monteverdi to Max Richter with companies such as Opéra de Lyon, Royal Opera House, Opera North and Scottish Opera. In concert she has performed with leading ensembles including Hallé, Hanover Band, Liverpool Philharmonic Orchestra and Philharmonia. A committed recitalist, her latest album with pianist Joseph Middleton ‘Love said to me….’, with song repertoire from the 20th century to the present day, was released to critical acclaim both here and abroad.
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 electricity of the girls singing Mercedes and Frasquita.
The lovely, sweet toned Papagena, Caroline MacPhie…
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.
…Caroline MacPhie whose acting must be applauded as well as her far too brief vocal performance.
…Caroline MacPhie, Rupert Enticknap and Damian Thantrey, all excellent.
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.
Crispian Steele-Perkins was joined by prize-winning soprano Caroline MacPhie… two virtuosi complementing each other perfectly in register and style.
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.
On stage, Caroline MacPhie did excellent work… both vocally and dramatically…