Described as a singer with ‘flair, style and imagination’ (The Telegraph), Caroline is a versatile artist, performing as a soloist in repertoire from Monteverdi to Max Richter with companies such as Royal Opera House, Opera North, Scottish Opera, Opéra National de Lyon and Opéra National de Lorraine. In concert she has performed with leading ensembles including Hallé, Hanover Band, Liverpool Philharmonic Orchestra and Philharmonia. A committed recitalist, she made her Wigmore Hall debut in 2010 and has since gone on to perform at major UK festivals as well as further afield. A specialist in repertoire by female composers, her latest album with pianist Joseph Middleton ‘Love said to me….’ is a collection of songs inspired or written by women.
Alongside her performance career, Caroline is also Artistic Director of a number of performance as well as outreach projects. Through these initiatives, she aims to make opera and the recital repertoire more accessible to a larger audience whilst also using the voice as a transformational tool. She regularly delivers workshops and lectures in a business setting, combining her expertise and experience as both performer and pedagogue.
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.