RECENT Press coverage

Interview with Philippe Banel of Tutti Magazine

“Having received the first album of the young English soprano Caroline MacPhie, Love said to me…, we fell in love with this soprano who embues these sometimes lesser known songs with great finesse and a rare understanding of the text…”

Article with Forum Opera

“In her “Hommage aux femmes – et à la ville de Lyon”, it is not the theme that is innovative – it is not difficult to find in the French song and lieder repertoire songs that celebrate women – but rather the form of this recital that integrates dance and images…”

FEATURED REVIEWS

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….

David Nice
The Arts Desk (SWAP'ra gala, Opera Holland Park, 2018)

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…

Céline Wadoux
Olyrix (Katya Kabanova, Opéra National de Lorraine, 2018)

The whole cast in Nancy reaches perfection, starting with the small roles performed with panache, namely Caroline MacPhie…

Yannick Boussaert
Forum Opera (Katya Kabanova, Opéra National de Lorraine, 2018)

Caroline MacPhie portrays a mischievous Barbara with clear high notes…

Her poised voice has strong high notes, complimenting her excellent diction.

Crispian Steele-Perkins was joined by prize-winning soprano Caroline MacPhie… two virtuosi complementing each other perfectly in register and style.

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

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

…Caroline MacPhie whose acting must be applauded as well as her far too brief vocal performance.

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

MacPhie sings with haunting sensitivity and emotional engagement… This lovely disc marks the arrival of a fine young recitalist.

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 talented Caroline MacPhie…

The lovely, sweet toned Papagena, Caroline MacPhie…

…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.

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.

Three committed and accomplished soloists – Caroline MacPhie, Damien Thantrey and Rupert Enticknap – move like priests or mentors among us, reciting and reflecting.

…Caroline MacPhie, Rupert Enticknap and Damian Thantrey, all excellent.

What impresses about the evening is not just how well the performers accomplish their difficult tasks but how integrated the whole show is.

Caroline radiated joy and ecstasy…

Seen and Heard International (Cheltenham Festival with the Elias Quartet & Tom Poster, 2011)

…the highly accomplished Caroline MacPhie…

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

…the electricity of the girls singing Mercedes and Frasquita.

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.

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.