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 […] 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 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)

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 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 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)

“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)

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)