Adina (cover) in Donizetti’s The Elixir of Love, King’s Head Theatre and Opera’r Ddraig; September/October 2019

“…there are some brilliant performances in this piece. On the evening I attended all three acting covers were in play, and I am truly thankful. 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.” ⭐⭐⭐⭐
(Matthew Cleverly, Theatre T)

“The talent of the cast is boundless […] I must offer sincere congratulations for their glorious performance to Caroline Taylor, David Powton, Matthew Kellett, Theo Perry and Shana Moron-Caravel. They won our hearts, without any potions from the unscrupulous Dulcamara. I urge you, no, implore you to go and see it.”
(Elaine Pinkus, UK Theatre Network)

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

Gina in Donizetti’s The Elixir of Love, King’s Head Theatre and Opera’r Ddraig; September/October 2019

“The cast of five are all superb […] Caroline Taylor provides hilarious support as Gina – she’s cover Adina, and you get the feeling she’d have a great take on that role.” ⭐⭐⭐⭐⭐
(Debbie Gilpin, Mind the blog)

“…Caroline Taylor sings the role of Adina’s sidekick with brio […] This is another miniature masterpiece from the King’s Head opera team and their collaborators.” ⭐⭐⭐⭐⭐
(Owen Davies, Plays to See)

“Transported to Barry Island, just before Margaret Thatcher ordered a task force of warships and merchant ships to sail forth in response to Argentina’s invasion of the Falkland Islands, the opera is framed around the love triangle formed by Adina (Alys Roberts), Nicky (David Powton) and Brandon (Themba Mvula). Outside the triangle sits Gina (Caroline Taylor), never short of an opinion or three.” ⭐⭐⭐⭐⭐
(J2, Close-up Culture)

“I hesitate to name many highlights because I enjoyed the whole damn thing. I’m smiling now when I think of Alys Roberts’ trying to work out what that awful stink in her cafe is, or when Caroline Taylor suddenly becomes infatuated with Nicky…” ⭐⭐⭐⭐
(David James, London City Nights)

“Nicky (David Powton) is secretly in love with Adina (Alys Roberts), but then Brandon (Themba Mvula) and Gina (Caroline Taylor) get in the way and it all results in a bewitching mash-up of soprano, tenor and baritone magic.” ⭐⭐⭐⭐
(Samantha Collett, North West End)

“Caroline Taylor was tidy as the coquettish little gossip, Gina.” ⭐⭐⭐½
(Anthony Evans, Planet Hugill)

Soprano soloist (Mater Gloriosa) in Mahler’s Symphony No. 8, Chetham’s Symphony Orchestra; July 2019

“As a team [the soloists] would have been the envy of any promoter, and perhaps the greatest excellence of this concert lay in their being together to do it […] 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.” ⭐⭐⭐⭐
(Robert Beale, The Arts Desk)

“All 8 [soloists] were without any doubt superb […] However, the two most pleasing voices for me came from the off-stage soprano whose clarity of diction and purity of sound surpassed any of the on-stage singers. Whether this was due to her proximity in the hall or not though I couldn’t tell. I believe this was soprano, Caroline Taylor.”
(Matthew Dougall, Reviewer Numbernine)

She in Madeleine Dring’s Cupboard Love, Byre Opera; June 2019

“…Cupboard Love turns out to be a fascinating piece of witty modernism, here given a lively staging by PJ Harris […] Liz Ranken’s slapstick choreography suited the piece perfectly, and all three singers dealt with the challenging music, and D. F. Aitken’s libretto, with impressive clarity, Taylor in particular relishing her contemporary coloratura opportunity.”
(Keith Bruce, Opera Magazine)

“Caroline Taylor has developed vocally and dramatically during her time studying in Manchester – a lovely pure, sweet soprano, with every word clear. She is also a keen actor […] This double bill was great fun and should ensure that we get to know both works better.”
(Iain Fraser, Opera Scotland)

“Caroline Taylor gives a glittering performance in what turns out to be a remarkable and compelling show […] They’ve assembled some remarkable young singers, especially Katherine Gunya, haunting as the grieving mother in Riders, and the glittering soprano of Caroline Taylor in Cupboard. It’s a company effort, though, and all the more admirable for that. This show would be compelling under any circumstances but in the light of the performers’ age and stage, it is pretty remarkable.” ⭐⭐⭐⭐
(Simon Thompson, The Times)

“In director PJ Harris’ inventive staging, vivacious soprano Caroline Taylor and baritone Theodore Day were a besotted couple who recall the pair in Steven Berkoff’s Decadence, and Ross McArthur the camp, lively corpse of her husband, whose convenient demise is the mystery of Dan Aitken’s libretto […] Byre Opera’s adventure is one to watch.” ⭐⭐⭐⭐
(Keith Bruce, The Herald Scotland)

Soprano soloist in A Night at the Opera; May 2019
“The singers compiled an entertaining mix of music that showed off just how versatile they now are […] Both singers showed a real development in technique and confidence in diction – clarity honed, no doubt, by years of experience in Gilbert and Sullivan, but they were equally proficient in the Italian items, plus a bonus in effective Hispanic and American accents for the Bernstein. Perhaps the favourite extract was the most unfamiliar one – the superb ‘Cherry Duet’ from Mascagni’s charming romantic comedy L’amico Fritz.”
(Stephen Fraser, Opera Scotland)

Soprano soloist in Boulanger’s Soir sur la plaine and songs, Sheffield Philharmonic Chorus; March 2019

“…soprano Caroline Taylor…gave impressively clear but delicate interpretations of a trio of reflective songs by the French Boulanger sisters, Lili and Nadia.”
(Philip Andrews, Sheffield Telegraph)

Lauretta in Puccini’s Gianni Schicchi, RNCM Opera; December 2018

“…the thwarted young lovers Lauretta and Rinuccio at this performance […] brought a fresh silvery innocence to their singing that was very appealing, and Lauretta had the audience in the palm of her hand during her famous “O mio babbino caro” aria.”
(Thalia Terpischore, Reviewer Numbernine)

“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.” ⭐⭐⭐⭐
(Leighton Jones, Bachtrack)

Helena in Jeremy Sams’ The Enchanted Island, British Youth Opera; September 2018

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

“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.” ⭐⭐⭐⭐
(Anthony Evans, Planet Hugill)

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

Sara in Ben Kaye & Adam Gorb’s The Path to Heaven, RNCM/Psappha; June 2018

“Caroline Taylor brought an engaging soprano sound and lively stage awareness to the role of Sara, joining feelingly in several trios with Fiona Finsbury (soprano) as Hanna and Lucy Vallis (mezzo) as Magda.”
(Martin Dreyer, Opera Magazine)

“…Taylor and Finsbury truly shone as Sara and Hanna respectively. Taylor was able to give a strong vocal performance against the often overpowering musical accompaniment […] it was a quality production, with the orchestra expertly conducted by Mark Heron and exceptional vocal work from Taylor, Finsbury, and Vallis as the leads.”
(Andrew Marsden, Reviewer Numbernine)

“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.” ⭐⭐⭐⭐
(Robert Beale, The Arts Desk)

Soprano soloist in Britten’s Les Illuminations & Mahler Symphony No. 4, Helix Ensemble; January 2018

“Still studying but already possessing the ability to express the lyrics and the music to the audience (without it feeling at all forced or dominant) Caroline Taylor is clearly a name to watch out for. Backed up by some energetic (where appropriate) string playing in Britten’s “Les Illuminations” her singing entranced the good sized audience. Ms Taylor also provided the class end to the chamber orchestra arrangement of Mahler’s Symphony No. 4 that formed the second half of the concert.”
(Roger Swann)

Cendrillon in Massenet’s Cendrillon, RNCM Opera; December 2017

“Clearly relishing her title role Caroline Taylor as Lucette, known as Cendrillon, excelled both in voice and acting prowess moving with grace. Looking elegant in her gorgeous evening dress and suitably demure in her adopted personality Taylor made a most credible downtrodden heroine who has found love with a handsome Prince. Reasonably bright with a light creamy tone the soprano doesn’t have a particularly large voice, but it’s a most attractive one. The coloratura requirements and high notes were satisfyingly achieved by Taylor displaying real promise.”
(Michael Cookson, Seen and Heard International)

Angel in Handel’s Jephtha, St Andrews Chorus and the Heisenberg Ensemble; November 2016

“Caroline Taylor (Angel, soprano) [was] clear and sweet. Diction was superb throughout.”
(Béla Simandi, The Courier)

Governess in Britten’s The Turn of the Screw, Byre Opera; June, July 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…
(Andrew Clark, Opera Magazine)

“…[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.”
(Michael White, The Catholic Herald)

“The manifestation of Quint (Chris Huggon) and Miss Jessel (Catherine Hooper) here are very real, but 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, it is to be hoped the department has upcoming vocal talents to match those of Taylor and Huggon for its upcoming production of Janáček’s Cunning Little Vixen.” ⭐⭐⭐⭐
(Keith Bruce, Herald Scotland)

“…a hugely impressive piece of work for such a young group of performers. Caroline Taylor, about to take up a scholarship at the Royal Northern College of Music, returned to the company as the Governess. Taylor gets better by the year, in this role conveying convincingly not just youth and naievety but the necessary neurotic behaviour […] beautifully sung, strongly characterised…”
(Iain Fraser, Opera Scotland)

Elsie in Sullivan’s The Golden Legend, University of St Andrews Gilbert and Sullivan Society; February 2016

“Caroline Taylor gave a sweetly expressive performance as Elsie. ‘The night is calm’, her aria sung on the road to Salerno, is one of the highlights of the score and she delivered it beautifully.”
(Iain Fraser, Opera Scotland)

Yum-Yum in Sullivan’s The Mikado, Southampton Operatic Society; January 2016

“Caroline Taylor (Yum-Yum) has the annoying habit of making superb singing look absolutely effortless.”
(Stuart Ardern, NODA Southampton)

“Yum-Yum…the stellar Caroline Taylor.”
(Alan Johns, The Southern Daily Echo)

“…the stand-out voice must surely be that of Caroline Taylor as Yum-Yum. She has some superb singing credits already but this is her first production with SOS. Let there be many, many more.”
(Mary Ann Evans, SceneOne)

Mabel in Sullivan’s The Pirates of Penzance, Mermaids Performing Arts Fund; August 2015

“Mabel is out to get what she wants and Caroline Taylor’s commanding performance with her soaring soprano voice and elements of coloratura ensures her success.”
(Richard Beck, Broadway Baby)

Miss Wordsworth in Britten’s Albert Herring, Byre Opera; June 2014

“A brilliantly functioning ensemble piece…The four village toadies were excellent, too. Caroline Taylor [Miss Wordsworth], gauchely flirting with Jonathan McNaul as the local Reverend […] The extensive applause in Perth Concert Hall argues persuasively for a third visit from St Andrews Opera.”
(Ian Stuart-Hunter, Perthshire Advertiser)

Further selected reviews

“I was deeply impressed by Caroline’s singing skills, especially by her beautiful coloratura displayed throughout the recital. The fine quality of the voice at higher pitches and the elaborate yet smooth turnings showed her amazing vocal control. I also loved her way of performing, which made the emotions in the music apparent to the audience…it was a very enjoyable experience. I am definitely looking forward to Caroline Taylor’s next performance, and I believe anyone else who was there assuredly feels the same way.”
(Jun Chu, The Tribe Online)

“[Caroline provided] an immediate sense of drama and character…impressively accomplished with a fluid coloratura, even across the range. A stimulating and persuasive performance, technically secure and dramatically utterly convincing. Brava!”
(Julia Dewhurst, Adjudicator at Southampton Music Festival 2014)

“The recital opened with Aline’s recitative and aria “Oh, happy young heart!” from The Sorcerer – putting [Caroline’s] audience in no doubt as to the superb quality of the concert which was to follow…then Pamina’s aria “Ach, ich fühl’s” from The Magic Flute making excellent use of the beautiful tone and intonation of Caroline’s fine soprano voice…a beautiful performance of Susanna’s aria from The Marriage of Figaro. Lovely venue, lovely programme, lovely performer!”
(Mike Pendlowski, NODA Fife)

“I was immediately taken aback by [Caroline’s] confidence and talent…it’s worth saying once again just how high the quality of performance was. It was a professional recital in every sense.”
(Deniz Ozkardes and Ross Hamilton, The Saint)

“Once again, Caroline Taylor brings a confident stage presence and the voice to match: she seems the perfect fit for the G&S slipper.”
(Simon Lamb, Standing Ovation on St Andrews Radio)