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….

MacPhie radiated joy and ecstasy…

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.

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

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.

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

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.

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

The lovely, sweet toned Papagena, Caroline MacPhie…

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.