…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.

…the quality of the three ladies, Caroline MacPhie, Heather Newhouse and Dorothea Spilger, who bring grace and intelligence to the vocal line and the text.

Caroline MacPhie portrays a mischievous Barbara with clear high notes…

Caroline MacPhie’s lyrical performance was delightfully seductive.

MacPhie radiated joy and ecstasy…

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.

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….