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.

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.

…Caroline MacPhie, Rupert Enticknap and Damian Thantrey, all excellent.

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

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 and David Jones….both excellent.

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

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….

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