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…

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’s lyrical performance was delightfully seductive.

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.

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

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.

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 a mischievous Barbara with clear high notes…

MacPhie radiated joy and ecstasy…

…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.