BIOGRAPHY

“MacPhie sings with haunting sensitivity and emotional engagement… She is a singer of whom we should hear more” – The Daily Telegraph

Lyon based British soprano Caroline MacPhie is known as a dynamic and eclectic artist both on the operatic stage as well as on the concert and recital platform. With a particular interest in 20th and 21st century, past performance highlights include the world première of Max Richter’s SUM for Royal Opera House, ein Mädchen Die Gezeichneten (Schreker) and First Niece Peter Grimes both for Opéra de Lyon and the title role in The Cunning Little Vixen for the Banff Centre, Canada. Plans for the 2018/19 season and beyond include Dame Judith Weir’s operatic monodrama ‘King Harald’s Saga’ for the Festival Présences Féminines at Opéra de Toulon, a new opera by the Maroccan – French composer Henri Agnel  and a new commission for soprano and orchestra by Cheryl Frances-Hoad.

 

Caroline’s interest in contemporary but also lesser-known repertoire is evident in her recital work. She is passionate about innovative programming and active promotion of the song repertoire, in particular works written by female composers. Her solo recital album ‘Love said to me…’ with duo partner Joseph Middleton takes songs either inspired or written by women with works by Koechlin, Muriel Herbert, Maconchy, Poulenc, Strauss and Wolf as well as new commissions by Cheryl Frances-Hoad and Rhian Samuel. Since being awarded representation with the prestigious Young Classical Artists Trust in 2009, Caroline has developed a vast song repertoire with performances at venues including Wigmore Hall, Purcell Room, Royal Liverpool Philharmonic Hall, Opéra de Lyon, Musée des Tissus in Lyon and at the Chichester, New Paths, Oxford Lieder, Ryedale and Two Moors festivals. In 2017 she launched Hommage aux femmes in collaboration with MoreHuman Arts at Salle Molière, Lyon. This multi disciplinary project, which has further performances planned for 2019/20, incorporates video mapping, story telling and dance with music by Nadia Boulanger, Clara Schumann and Ethel Smyth as well as Hahn, MacMillan and Poulenc.

 

A versatile performer, Caroline’s additional operatic experience includes a number of baroque and classical roles such as Ninfa/ Euridice Orfeo (Monteverdi/ Silent Opera, London), Cleopatra Giulio Cesare (cover, Opera North), Soprano Soloist Messiah (staged version at Bristol Old Vic), Susanna Le Nozze di Figaro (West Green House, Hampshire), Pamina Die Zauberflöte (Bristol Tobacco Factory) and Papagena/ Erste Dame Die Zauberflöte (Opéra de Lyon). She has also performed Frasquita Carmen (Scottish Opera), Norina Don Pasquale (Opera Project), Barbara Eine Nacht in Venedig, (Opéra de Lyon) and Anne A little night music (Opera Project). On the concert and oratorio platform she has performed Bach St. Johannes Passion with Hanover Band, Mozart Requiem with Philharmonia and King’s College Cambridge, Fauré Requiem with Royal Liverpool Philharmonic Orchestra, Szymanowski Stabat Mater with the New London Orchestra and Vaughan Williams’ Sinfonia Antartica.

 

Caroline initially studied French and German at Bristol University before embarking upon postgraduate studies at the Royal Northern College of Music. She went on to graduate with distinction from the Opera Course at the Royal Academy of Music, following which she won representation with the Young Classical Artists Trust. A finalist in the Kathleen Ferrier Awards 2009, Caroline’s competition successes include First Prize in the Emmy Destinn Awards, Prague, Miriam Licette Scholarship (Musicians’ Benevolent Fund), Dame Eva Turner Award and Blyth-Buesst Operatic Prize (Royal Academy of Music), Schubert Prize and Claire Croiza Prize for French Song (Royal Northern College of Music). She is also a Britten-Pears Young Artist, Kirckman Society Artist, Samling Scholar, Steans Institute Young Artist (Ravinia Festival, Chicago) and Wingate Scholar.

 

In addition to her performance work, Caroline is a singing teacher, workshop leader and lecturer. Using music and the human voice as a transformative tool, she regularly collaborates with management consultant and keynote speaker Stéphane Moriou on subjects such as potential, communication and teamwork.

Lyon based British soprano Caroline MacPhie is known as a dynamic and eclectic artist both on the operatic stage as well as on the concert and recital platform. With a particular interest in 20th and 21st century, past performance highlights include the world première of Max Richter’s SUM for Royal Opera House, ein Mädchen Die Gezeichneten (Schreker) and First Niece Peter Grimes both for Opéra de Lyon and the title role in The Cunning Little Vixen for the Banff Centre, Canada. Plans for the 2018/19 season and beyond include Dame Judith Weir’s operatic monodrama ‘King Harald’s Saga’ for the Festival Présences Féminines at Opéra de Toulon, a new opera by the Maroccan -French composer Henri Agnel  and a new commission for soprano and orchestra by Cheryl Frances-Hoad.

 

Caroline’s interest in contemporary but also lesser-known repertoire is evident in her recital work. She is passionate about innovative programming and active promotion of the song repertoire, in particular works written by female composers. Her solo recital album ‘Love said to me…’ with duo partner Joseph Middleton takes songs either inspired or written by women with works by Koechlin, Muriel Herbert, Maconchy, Poulenc, Strauss and Wolf as well as new commissions by Cheryl Frances-Hoad and Rhian Samuel. Since being awarded representation with the prestigious Young Classical Artists Trust in 2009, Caroline has developed a vast song repertoire with performances at venues including Wigmore Hall, Purcell Room, Royal Liverpool Philharmonic Hall, Opéra de Lyon, Musée des Tissus in Lyon and at the Chichester, New Paths, Oxford Lieder, Ryedale and Two Moors festivals. In 2017 she launched Hommage aux femmes in collaboration with MoreHuman Arts at Salle Molière, Lyon. This multi disciplinary project, which has further performances planned for 2019/20, incorporates video mapping, story telling and dance with music by Nadia Boulanger, Clara Schumann and Ethel Smyth as well as Hahn, MacMillan and Poulenc.

 

A versatile performer, Caroline’s additional operatic experience includes a number of baroque and classical roles such as Ninfa/ Euridice Orfeo (Monteverdi/ Silent Opera, London), Cleopatra Giulio Cesare (cover, Opera North), Soprano Soloist Messiah (staged version at Bristol Old Vic), Susanna Le Nozze di Figaro (West Green House, Hampshire), Pamina Die Zauberflöte (Bristol Tobacco Factory) and Papagena/ Erste Dame Die Zauberflöte (Opéra de Lyon). She has also performed Frasquita Carmen (Scottish Opera), Norina Don Pasquale (Opera Project), Barbara Eine Nacht in Venedig, (Opéra de Lyon) and Anne A little night music (Opera Project). On the concert and oratorio platform she has performed Bach St. Johannes Passion with Hanover Band, Mozart Requiem with Philharmonia and King’s College Cambridge, Fauré Requiem with Royal Liverpool Philharmonic Orchestra, Szymanowski Stabat Mater with the New London Orchestra and Vaughan Williams’ Sinfonia Antartica.

 

Caroline initially studied French and German at Bristol University before embarking upon postgraduate studies at the Royal Northern College of Music. She went on to graduate with distinction from the Opera Course at the Royal Academy of Music, following which she won representation with the Young Classical Artists Trust. A finalist in the Kathleen Ferrier Awards 2009, Caroline’s competition successes include First Prize in the Emmy Destinn Awards, Prague, Miriam Licette Scholarship (Musicians’ Benevolent Fund), Dame Eva Turner Award and Blyth-Buesst Operatic Prize (Royal Academy of Music), Schubert Prize and Claire Croiza Prize for French Song (Royal Northern College of Music). She is also a Britten-Pears Young Artist, Kirckman Society Artist, Samling Scholar, Steans Institute Young Artist (Ravinia Festival, Chicago) and Wingate Scholar.

 

In addition to her performance work, Caroline is a singing teacher, workshop leader and lecturer. Using music and the human voice as a transformative tool, she regularly collaborates with management consultant and keynote speaker Stéphane Moriou on subjects such as potential, communication and teamwork.

Lyon based British soprano Caroline MacPhie is known as a dynamic and eclectic artist both on the operatic stage as well as on the concert and recital platform. With a particular interest in 20th and 21st century, past performance highlights include the world première of Max Richter’s SUM for Royal Opera House, ein Mädchen Die Gezeichneten (Schreker) and First Niece Peter Grimes both for Opéra de Lyon and the title role in The Cunning Little Vixen for the Banff Centre, Canada. Plans for the 2018/19 season and beyond include Dame Judith Weir’s operatic monodrama ‘King Harald’s Saga’ for the Festival Présences Féminines at Opéra de Toulon, a new opera by the Maroccan -French composer Henri Agnel  and a new commission for soprano and orchestra by Cheryl Frances-Hoad.

Caroline’s interest in contemporary but also lesser-known repertoire is evident in her recital work. She is passionate about innovative programming and active promotion of the song repertoire, in particular works written by female composers. Her solo recital album ‘Love said to me…’ with duo partner Joseph Middleton takes songs either inspired or written by women with works by Koechlin, Muriel Herbert, Maconchy, Poulenc, Strauss and Wolf as well as new commissions by Cheryl Frances-Hoad and Rhian Samuel. Since being awarded representation with the prestigious Young Classical Artists Trust in 2009, Caroline has developed a vast song repertoire with performances at venues including Wigmore Hall, Purcell Room, Royal Liverpool Philharmonic Hall, Opéra de Lyon, Musée des Tissus in Lyon and at the Chichester, New Paths, Oxford Lieder, Ryedale and Two Moors festivals. In 2017 she launched Hommage aux femmes in collaboration with MoreHuman Arts at Salle Molière, Lyon. This multi disciplinary project, which has further performances planned for 2019/20, incorporates video mapping, story telling and dance with music by Nadia Boulanger, Clara Schumann and Ethel Smyth as well as Hahn, MacMillan and Poulenc.

A versatile performer, Caroline’s additional operatic experience includes a number of baroque and classical roles such as Ninfa/ Euridice Orfeo (Monteverdi/ Silent Opera, London), Cleopatra Giulio Cesare (cover, Opera North), Soprano Soloist Messiah (staged version at Bristol Old Vic), Susanna Le Nozze di Figaro (West Green House, Hampshire), Pamina Die Zauberflöte (Bristol Tobacco Factory) and Papagena/ Erste Dame Die Zauberflöte (Opéra de Lyon). She has also performed Frasquita Carmen (Scottish Opera), Norina Don Pasquale (Opera Project), Barbara Eine Nacht in Venedig, (Opéra de Lyon) and Anne A little night music (Opera Project). On the concert and oratorio platform she has performed Bach St. Johannes Passion with Hanover Band, Mozart Requiem with Philharmonia and King’s College Cambridge, Fauré Requiem with Royal Liverpool Philharmonic Orchestra, Szymanowski Stabat Mater with the New London Orchestra and Vaughan Williams’ Sinfonia Antartica.

Caroline initially studied French and German at Bristol University before embarking upon postgraduate studies at the Royal Northern College of Music. She went on to graduate with distinction from the Opera Course at the Royal Academy of Music, following which she won representation with the Young Classical Artists Trust. A finalist in the Kathleen Ferrier Awards 2009, Caroline’s competition successes include First Prize in the Emmy Destinn Awards, Prague, Miriam Licette Scholarship (Musicians’ Benevolent Fund), Dame Eva Turner Award and Blyth-Buesst Operatic Prize (Royal Academy of Music), Schubert Prize and Claire Croiza Prize for French Song (Royal Northern College of Music). She is also a Britten-Pears Young Artist, Kirckman Society Artist, Samling Scholar, Steans Institute Young Artist (Ravinia Festival, Chicago) and Wingate Scholar.

In addition to her performance work, Caroline is a singing teacher, workshop leader and lecturer. Using music and the human voice as a transformative tool, she regularly collaborates with management consultant and keynote speaker Stéphane Moriou on subjects such as potential, communication and teamwork.