Reviews

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)

Iphigénie in Iphigénie in Tauris, Byre Opera; June 2015

“Most of the responsibility fell on the shoulders of Caroline Taylor, in the main and massive lead role…there was assurance in delivery and I thought she captured the character’s mix of naivety and feistiness perfectly, peaking in her Act 3 aria […] Few companies would take this opera on and even fewer would do such an excellent job with it.”
(Garry Fraser, The Courier and Advertiser [Fife Edition])

“As Iphigénie, Caroline Taylor was beautifully pure”
(Ken Walton, The Scotsman)

“The singers reached a remarkably high standard […] Iphigénie is rarely off the stage and has several quite demanding arias to project. Caroline Taylor sang with sweet and lyrical tone that worked very well.”
(Iain Fraser, Opera Scotland)

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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