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.

The lovely, sweet toned Papagena, Caroline MacPhie…

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…

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.

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 radiated joy and ecstasy…

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….

One must also mention the performance of the beautiful Caroline MacPhie in the (far too brief) role of a young girl…

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