Caroline Taylor, soprano


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.

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)

“…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)

“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)

“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)