Further press (Asteria)

“As Asteria, Caroline Taylor began demure and butter-wouldn’t-melt, helped by her stylish yet very conventional frock. But Taylor also found another vein; this Asteria had spitfire moments and was clearly her father’s daughter. Taylor brought highly expressive facial expressions and body language to the Throne Room Scene, making Asteria a very active participant even when saying little, and at the end of the scene Taylor was profoundly moving when Asteria addresses Bajazet, Andronico and Irene in turn, then ends the act with her powerful aria. It was a real shame we did not get Asteria’s aria ‘Cor di padre’ in Act Three (yes, I know it holds things up but I would have loved to hear Taylor singing it). At the end, Taylor did not sing in the finale coro, instead she took part in a funeral processions for Bajazet which crossed the rear of the stage, an imaginative and moving touch.” (PLANET HUGILL, Robert Hugill)

“…Asteria, superbly played here by Caroline Taylor as she portrays a development from a young love-consumed woman to one of determination and action […] Caroline Taylor was spellbinding in the aria which concludes Act 2, Ah not happy! How at ease? with its beautiful melody and orchestration.” (CAMBRIDGE INDEPENDENT, John Gilroy)

“As Bajazet’s daughter Asteria, Caroline Taylor commanded attention from her first entrance. This is perhaps the character in the opera with most agency, making not one but two assassination attempts on the title character and generally holding her own in a male world. Taylor was fully equal to the challenge, and throughout brought a steely intensity and powerful presence to the role.” (LARK REVIEWS, William Hale)