Lauretta in 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 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 Kaye & Gorb 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 Les Illuminations and 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 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 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 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 Janacek’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 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 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 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 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)

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