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Caroline Taylor, stationed on high in the auditorium to sing the Mater Gloriosa’s benedictions at the close, floated her tone down like gentle rain from heaven.

THE ARTS DESK, Robert Beale
Mahler Symphony No. 8 | The Bridgewater Hall

About

Caroline Taylor was spellbinding

CAMBRIDGE INDEPENDENT, John Gilroy
Asteria/Tamerlano | Cambridge Handel Opera Company (2022)

Winner of the 2021 Emmy Destinn Young Singers Awards, Caroline Taylor studied as an Oglesby Scholar at the Royal Northern College of Music, generously supported by a Help Musicians UK Maidment Award. She is a recent Longborough Festival Opera Emerging Artist and member of the Wigmore Hall French Song Exchange. Caroline is delighted to be a City Music Foundation Artist, where she is represented by Latana Phoung. She studies with Susan Roberts and Louise Winter.

This season, Caroline makes her debut at the Wigmore Hall and joins Oxford Lieder as a 2022-2024 Young Artist with pianist George Ireland. She makes company debuts with Bampton Classical Opera as Tirsi in Handel’s Clori, Tirsi e Fileno and with English Touring Opera as Delia and Contessa di Folleville (cover) in Rossini’s Il Viaggio a Reims, also taking part in their outreach opera The Wish Gatherer; and she performs the title role in Janáček’s Příhody lišky Bystroušky (The Cunning Little Vixen) with Hampstead Garden Opera. In concert, Caroline performs Pergolesi Stabat Mater with the Northern Chamber Orchestra and Beethoven Symphony No. 9 with Chester Philharmonic Orchestra and appears a soloist with the Emmy Destinn Foundation at St John’s Smith Square.

In 2021/2022, Caroline made her role debut as Asteria in Handel’s Tamerlano with Cambridge Handel Opera Company. She joined the Grange Festival as Kate and cover Elsie Maynard in Gilbert and Sullivan’s The Yeomen of the Guard, where she also jumped in to sing Asteria to great acclaim. In concert, she performed Mozart Requiem (Tatton Singers) and Fauré Requiem (Manchester Camerata, Sheffield Philharmonic Chorus) and a collection of Johanna Kinkel songs with pianist Sholto Kynoch at BeethovenFest Bonn.

An RNCM Gold Medal finalist, Caroline won the 2018 Joyce and Michael Kennedy Strauss Award, the 2018 Sir Anthony Lewis Memorial Prize and the 2019 Dean and Chadlington Singing Competition. She also received Third Prize at the 2019 Maureen Lehane Vocal Awards. Caroline and pianist George Ireland were finalists in the London Song Festival’s British Art Song Competition, encompassing a masterclass with Dame Sarah Connolly. Most recently, Caroline was a semi-finalist in the Royal Over-seas League Singers’ Prize.

Caroline’s operatic roles include Chocholka and cover Vixen Sharp-Ears/The Cunning Little Vixen (Longborough Festival Opera), Adina/The Elixir of Love (Duchy Opera; King’s Head Theatre; Opera’r Ddraig), Clori/L’Egisto (Hampstead Garden Opera), Lauretta/Gianni Schicchi (RNCM Opera), Helena/The Enchanted Island (British Youth Opera), She/Cupboard Love, Governess/The Turn of the Screw and Miss Wordsworth/Albert Herring (Byre Opera), Papagena and cover Pamina/The Magic Flute (St Andrews Voices) and Sara in the World Premiere of Ben Kaye and Adam Gorb’s The Path to Heaven (RNCM, Psappha). 

Concert highlights include Britten Les Illuminations with the Northern Ballet Sinfonia, Vaughan Williams Serenade to Music with the Southbank Sinfonia at St John’s Smith Square and Mahler Symphony No. 8 at the Bridgewater Hall. Further concert repertoire includes Handel Messiah, Saul and Jephtha, Vivaldi Gloria, Bach St John Passion and St Matthew Passion, Brahms Ein deutsches Requiem and Vaughan Williams Sinfonia Antarctica.

Caroline is a former Leeds Lieder Young Artist and Concordia Foundation Artist, with whom she made her solo debuts at St Martin in the Fields and St James’s Piccadilly. In 2021, Caroline and pianist George Needham gave the World Premiere of Jen Hartley and Kerry Darbishire’s Lakeland Song Cycle at the inaugural Cumbria Opera Festival. Prior to her musical studies, Caroline completed an MA (Hons) in French, Italian and Spanish at the University of St Andrews, where she received the Cedric Thorpe Davie Memorial Prize for outstanding musical contribution.

Biography not to be shared/reproduced without permission

Caroline Taylor gives a glittering performance

THE TIMES, Simon Thompson
She/Cupboard Love | Byre Opera (2019)

Press

Vixen Sharp-Ears, The Cunning Little Vixen (in Czech) | Hampstead Garden Opera (2022)

“Caroline Taylor plays the Vixen with astonishing veracity and persuasiveness, capturing her sweetness, sensuality and swagger. Her soprano shines as brightly as the Vixen’s joyful smile.” (THE STAGE, Claire Seymour)

“For me, the performance was held together by the radiant and imaginative Vixen of Caroline Taylor. Physically she embodied the animal beautifully […] Taylor held our attention throughout in a wonderfully engaging way, and musically she was lyrically satisfying too, rising with ease over the reduced orchestra.” (PLANET HUGILL, Robert Hugill)

“Caroline Taylor as Sharp-Ears is sensational, playing her role as a proto feminist she delivers the complete performance, using mime, dance and her wonderfully rich voice.” (HAM & HIGH, David Winskill)

Oxford Lieder Festival | The Catch Club; A Poet’s Love (2022)

“Caroline Taylor gave an impressive rendition of the solo songs […] John Bannister’s three settings of Ariel’s Songs from The Tempest were sung with sparkling finesse…whilst the anonymous ‘Begone sweit night’ received an affecting interpretation on account of Taylor’s pure-voiced nobility” (SEEN AND HEARD INTERNATIONAL, Curtis Rogers)

“…[Taylor] was charming and very suggestive in Purcell, brought a nice swagger to ‘Down among the dead men’, and duetted wonderfully with Purves. Her account of Arne’s complex arioso and aria, ‘O ravishing delight’ was finely stylish, whilst she really sold Bannister’s Ariel’s Songs and made them something of a highlight of the evening.” (PLANET HUGILL, Robert Hugill)

“Caroline Taylor, and George Ireland at the piano, gelled cogently in these attractively lyrical settings, which had something of Mendelssohn’s melodic fluency to them, giving them a worthwhile outing.” (SEEN AND HEARD INTERNATIONAL, Curtis Rogers)

 Taylor has a crystal-clear tone, considerable power and a wide, even range.  She was authoritative in the role from the start, flicking Tirsi’s pink quill flamboyantly over his manuscript paper in his first aria… Tirsi’s Act 2 rage aria [was] explosively sung.

OPERA TODAY, Claire Seymour
Tirsi/Clori, Tirsi e Fileno | Bampton Classical Opera (2022)


Caroline Taylor in particular shone in this programme. A very talented soprano, also a charming and intelligent actress, she moved apparently effortlessly from the coquettish Norina in Don Pasquale to Bizet’s virtuous Micaëla, to Mozart’s Susanna, and the flirtatious vixen in The Cunning Little Vixen, concluding with one of the best renderings of Vilja Lied from The Merry Widow that I with my Austrian heritage have heard.

EDINBURGH MUSIC REVIEW, Christine Twine
An Afternoon at the Opera | Edinburgh Festival Fringe (2022)
Kate, The Yeomen of the Guard | The Grange Festival (2022)

“Some of the ensemble singing stands out in particular, with the four-part ‘Strange adventure’, which includes Caroline Taylor as Kate, being especially persuasive” (MUSICOMH, Sam Smith)

“Caroline Taylor, as Kate, made a fine solo contribution to the quartet ‘Strange adventure’ with Shipp, Pritchard and Broadbent…” (PLANET HUGILL, Robert Hugill)

Asteria, Tamerlano | The Grange Festival (2022)

“…while an actress silently mimed Asteria on stage, Caroline Taylor sang her role at the edge of the stage in her evening dress, and she, who had rehearsed the role in English, sang the Italian text line for line of sheet. Not only did she save this evening – a cancellation of the performance would have been inevitable: she was simply fantastic. Her crystal-clear, highly melodic soprano filled the shabby chic auditorium…the starting signal for one brilliant career as a singer. The well-known aria ‘Se potessi un dì placare’, interpreted in a highly musical way, became the undisputed highlight of the evening […] The great Caroline Taylor was of a different caliber: during the final applause, she unmistakably earned the strongest cheers.” (KLASSIK BEGEISTERT, Dr Charles E. Ritterband)

“Taylor, who sang the role in Cambridge earlier this year, creates as vigorous and determined account as then, whilst holding back tenderness for when she is finally reconciled with Andronico, her true lover.” (COLIN’S COLUMN, Curtis Rogers)

Asteria, Tamerlano | Cambridge Handel Opera Company (2022)

“…Taylor was profoundly moving when Asteria addresses Bajazet, Andronico and Irene in turn, then ends the act with her powerful aria.” (PLANET HUGILL, Robert Hugill)

“As Bajazet’s daughter Asteria, Caroline Taylor commanded attention from her first entrance […] Taylor was fully equal to the challenge, and throughout brought a steely intensity and powerful presence to the role.” (LARK REVIEWS, William Hale)

“The natural, dignified force of Caroline Taylor’s singing as his daughter Asteria exactly expresses her courageous resolve…” (CLASSICAL SOURCE, Curtis Rogers)

Adina, The Elixir of Love | King’s Head Theatre, Opera’r Ddraig (2019)

“Star vocal performance of the evening went to understudy Caroline Taylor as Adina who will surely one day make a marvellous Marschallin in Rosenkavalier.” (LONDON BOX OFFICE, Stuart King)

“Caroline Taylor (who originally plays Gina) covered as the lead, Adina. Her soprano voice demonstrated power and impressive dexterity while also conveying a strong acting performance of a woman stuck choosing between two men.” (THEATRE T, Matthew Cleverly)

She, Madeleine Dring’s Cupboard Love | Byre Opera (2019)
EUROPEAN STAGED PREMIERE

“…Cupboard Love turns out to be a fascinating piece of witty modernism, here given a lively staging by PJ Harris […] Taylor in particular relishing her contemporary coloratura opportunity.” (OPERA MAGAZINE, Keith Bruce)

“They’ve assembled some remarkable young singers, especially…the glittering soprano of Caroline Taylor in Cupboard.” (THE TIMES, Simon Thompson)

The aria “O mio babbino caro”, sung by Caroline Taylor as Lauretta, was performed with simple sincerity – a refreshing change from the cloying nature in which it’s often heard.

BACHTRACK, Leighton Jones
Lauretta/Gianni Schicchi | RNCM Opera (2018)
Helena, The Enchanted Island | British Youth Opera (2018)
EUROPEAN STAGED PREMIERE

“It is consistently well sung and acted. Taylor and Edlin really wring your heart in their scenes together.” (THE GUARDIAN, Tim Ashley)

“…there was much fine singing, especially from the women […] Caroline Taylor was a feisty Helena of independence and impetuousness.” (OPERA MAGAZINE, Claire Seymour)

“Natalie Davies and Caroline Taylor’s characters Hermia and Helena felt a little underwritten but given the opportunity to shine in the duet “Men are fickle” they sparkled.” (PLANET HUGILL, Anthony Evans)

Sara, Ben Kaye & Adam Gorb’s The Path to Heaven | Psappha (2018)
WORLD PREMIERE

“Caroline Taylor brought an engaging soprano sound and lively stage awareness to the role of Sara…” (OPERA MAGAZINE, Martin Dreyer)

“The opera is beautifully constructed […] the music…is of extraordinary skill, passion and beauty […] The acting singers…were highly effective in character portrayal and excellent in sound.” (THE ARTS DESK, Robert Beale)

Governess, The Turn of the Screw | Byre Opera (2016)

“Caroline Taylor blossomed as the Governess. She inhabited the part, held the stage, sang sensitively, moved intelligently: this well-schooled singer is maturing handsomely. The axis between her and the ten-year-old Ben Clark’s Miles was the dominant force of the performance…” (OPERA MAGAZINE, Andrew Clark)

“…[I] was captivated by a young soprano, Caroline Taylor, who hasn’t even reached music college yet (she starts next term) but sang the Governess with exactly the right mix of beauty and neurosis.” (THE CATHOLIC HERALD, Michael White)

“…soprano Caroline Taylor – about to begin her Masters studies at the Royal Northern College of Music – suggests other interpretations in the anxious Governess she presents from the beginning. Her diction in particular is exemplary […] A testament to the quality of the music-making at St Andrews…” (THE HERALD SCOTLAND, Keith Bruce)

Schedule

2022

Annual Christmas Concert
Hurn Court Opera

4 December

Church House, Wimborne

Christmas at the Opera
Ben Pavitt’s Legacy of Love Fund

With Caroline Taylor (soprano), James Atkinson (baritone) and Lucy Colquhoun (piano)

9 December

St Mark’s Church, Southampton

2023

Rossini Il Viaggio a Reims
English Touring Opera

Role: Delia; Contessa di Folleville (cover)

4 | 18 | 25 | 28 March
8 | 15 | 22 | 29 April
6 | 13 | 27 May

Hackney Empire, Norwich Theatre Royal, York Theatre Royal, Gala Theatre Durham, Cambridge Arts Theatre, Chester Storyhouse, Snape Maltings, Marlowe Theatre (Canterbury), Everyman (Cheltenham), Buxton Opera House, Northcott Theatre (Exeter)

Noah Mosley and JL Williams The Wish Gatherer
English Touring Opera

Role: Soprano

Dates and venues TBC

Pergolesi Stabat Mater
Northern Chamber Orchestra

Soprano soloist

11 March

Macclesfield

Lunchtime recital
City Music Foundation

With Sebastian Issler (piano)

19 May

St Martin in the Fields

Monteverdi L’Orfeo
Longborough Festival Opera

Role: La Musica

11 | 13 | 15 | 16 | 18 July

Longborough

Contact

Management: Latana Phoung, City Music Foundation
latana.phoung@citymusicfoundation.org

You can contact Caroline directly via the form below

Photo credits (from top to bottom): Victoria Cadisch, Victoria Cadisch, Laurent Compagnon, Jean-Luc Benazet, Benjamin Ealovega