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….

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

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

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…

Caroline MacPhie portrays a mischievous Barbara with clear high notes…

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.

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

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.

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