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Photo: Foubography

Caroline Taylor

Voice Type:

Soprano

Nationality:

British

Country:

United Kingdom

Languages (fluent):

English, French, Spanish

Opera

Asteria
Tamerlano *POSTPONED, COVID-19 (Handel)
Cambridge Handel Opera Company
2021
Adina
The Elixir of Love *POSTPONED, COVID-19 (Donizetti)
Duchy Opera
2021
Vixen Sharp-Ears
The Cunning Little Vixen *CANCELLED, COVID-19 (Janáček)
Longborough Festival Opera (Emerging Artist)
2020
Chocholka (Crested Hen)
The Cunning Little Vixen *CANCELLED, COVID-19 (Janáček)
Longborough Festival Opera (Emerging Artist)
2020
Vixen Sharp-Ears
The Cunning Little Vixen (Janáček)
Riverside Opera, Barnes Music Festival
2020
She
Cupboard Love (Madeleine Dring)
Byre Opera
2019
Gina (Giannetta)
The Elixir of Love (Donizetti)
King's Head Theatre, Opera'r Ddraig
2019
Adina
The Elixir of Love (Donizetti)
King's Head Theatre, Opera'r Ddraig
2019
Governess
The Turn of the Screw (Britten)
Royal Northern College of Music
2019
Lauretta
Gianni Schicchi (Puccini)
RNCM Opera
2018
Helena
The Enchanted Island (Various, arr. Jeremy Sams)
British Youth Opera
2018
Sophie
Der Rosenkavalier (Strauss, R)
Edinburgh Festival Fringe
2017
Blanche de la Force
Dialogues des Carmélites (Poulenc)
Royal Northern College of Music
2017
Governess
The Turn of the Screw (Britten)
Byre Opera
2016
Papagena
The Magic Flute (Mozart)
St Andrews Voices
2016
Miss Wordsworth
Albert Herring (Britten)
Byre Opera
2014

Operetta/G&S

Nadina
Der tapfere Soldat (Straus)
Clonter Opera (Spring Opera Showcase)
2018
Yum-Yum
The Mikado (Sullivan)
Southampton Operatic Society
2016
Josephine
H.M.S. Pinafore (Sullivan)
St Andrews University G&S Society
2015
Aline
The Sorcerer (Sullivan)
Peak Opera
2014

Contemporary Opera

Sara
The Path to Heaven (Adam Gorb)
Psappha; Royal Northern College of Music
2018
Tina
Flight (Dove)
Royal Northern College of Music
2018

Early Music

Soloist
HWV 145: La Lucrezia, O numi eterni (Handel)
The Lucrezia Trio
2017

Musical Theatre

Maria
West Side Story (Bernstein)
St Salvator's Chapel
2019
Anne Egerman
A Little Night Music (Sondheim)
Clonter Opera (Spring Opera Showcase)
2018

Art Song

Soloist
Cinq Poèmes de Baudelaire (Debussy)
St Martin in the Fields (Concordia Foundation)
2020
Soloist
Ariettes Oubliées (Debussy)
Royal Northern College of Music
2019
Soloist
On this Island (Britten)
Royal Northern College of Music
2019
Soloist
Three Shakespearean Songs (Brian Hughes)
Royal Northern College of Music
2019
Soloist
4 Lieder, Op. 27 (Strauss, R)
Oxenfoord International Summer School
2019
Soloist
Five Shakespeare Songs, Op. 23 (Quilter)
St James's Piccadilly (Concordia Foundation)
2019
Soloist
Seven Elizabethan Lyrics, Op. 12 (Quilter)
Chelmsford Cathedral Lunchtime Concerts
2019
Soloist
Trois Mélodies (Messiaen)
Royal Northern College of Music
2019
Soloist
Cinq poèmes de Baudelaire (Debussy)
The Baudelaire Project, Oxford Lieder
2019
Soloist
Liederkreis, Op. 39 (Schumann)
Leigh Music Society
2018
Soloist
The Sorriest Cow of Capricorn (Paul Patterson)
Royal Northern College of Music
2017
Soloist
Chants de Terre et de Ciel (Messiaen)
St Andrews University Music Centre
2015

Oratorio/Concerts

Soloist
Requiem *CANCELLED, COVID-19 (John Rutter)
Tatton Singers
2020
Soloist
A German Requiem (Brahms)
Chester Cathedral Nave Choir
2019
Soloist (Michal)
Saul (Handel)
Border Singers
2019
Soloist
Soir sur la plaine (Lili Boulanger)
Sheffield Philharmonic Chorus
2019
Soloist (Mater Gloriosa)
Symphony No. 8 (Mahler)
Chetham's Symphony Orchestra
2019
Soloist
St John Passion (Bach)
Chester Music Society
2019
Soloist
Les Illuminations (Britten)
Northern Ballet Sinfonia
2018
Soloist
Messiah (Handel)
Chesterfield Philharmonic Society
2018
Soloist
Symphony No. 4, chamber arrangement (Mahler)
Helix Ensemble
2018
Soloist
Les Illuminations (Britten)
Helix Ensemble
2018
2nd Soprano Soloist
Vespers of 1610 (Monteverdi)
Phoenix Singers
2018
Soloist
St John Passion (Bach)
RNCM Opera
2017
Soloist (Angel)
Jephtha (Handel)
St Andrews Chorus
2016
Soloist
Mass in B minor (Bach)
Kellie Consort
2016
Soloist
Gloria RV 589 (Vivaldi)
Anstruther Philharmonic Society
2013
Soloist
Sinfonia Antarctica (Vaughan Williams)
Dundee Symphony Orchestra
2013

Various/Mixed

Soloist
Juliet the Moon (Phillip Rousiamanis; Deane Smith)
RNCM
2014

Covered Covered & Performed Scenes Premiere of New Work Concert

Photo credit: BBC Radio Scotland

Photo credit: Bill Knight

Photo credit: Bill Knight

Photo credit: EDH Shots

Photo credit: Foubography

Photo credit: Foubography

Photo credit: Foubography

Photo credit: Foubography

Photo credit: Jack Thompson

Photo credit: Jenny Stewart

Photo credit: Madeline Portraits

Photo credit: Pauline Nield

Photo credit: Robert Workman

Photo credit: Robert Workman

Photo credit: Stuart Barker

Photo credit: Tilted Frame Photography

Photo credit: Tilted Frame Photography

Maidment Award, Help Musicians UK (2018)

Oglesby Scholarship, Royal Northern College of Music (2018)

Postgraduate Bursary, Royal Northern College of Music (2018)

The Clemence Charitable Trust, Award (2018)

The Lynn Foundation, Award (2018)

The Mario Lanza Educational Foundation, Award (2018)

Postgraduate Award, Help Musicians UK (2017)

Postgraduate Bursary, Royal Northern College of Music (2017)

Philip Johnston Award for Musical Excellence, Southampton Operatic Society (2016)

Richard Newitt Fund Scholarship, Royal Northern College of Music (2016)

Cedric Thorpe Davie Memorial Prize, University of St Andrews (2015)

Cedric Thorpe Davie Vocal Scholarship, University of St Andrews (2014)

Choral Scholarship, Holy Trinity Church Choir (2013)

Choral Scholarship, St Andrews Chorus (2012)

Competitions

1st Prize (joint): Dean and Chadlington Singing Competition (2019)

3rd Prize: Maureen Lehane Vocal Awards, Jackdaws (2019)

Finalist: Elizabeth Harwood Memorial Prize, Royal Northern College of Music (2019)

Semi-finalist: Mozart Singing Competition (2019)

1st Prize: Sir Anthony Lewis Memorial Prize Competition (2018)

Finalist: Concerto Competition, Royal Northern College of Music (2018)

Finalist: Patricia Routledge National English Song Competition, AESS (2018)

Highly commended: Brodsky Cross-School Prize, Royal Northern College of Music (2018)

RNCM representative: Gerald Moore Award (with pianist Sid Ramchander) (2018)

Winner: Joyce and Michael Kennedy Award for Singing of Strauss (2018)

Finalist: Joyce and Michael Kennedy Award for Singing of Strauss (2017)

Nominee: Best Performance in an Opera, Southampton Daily Echo Curtain Call (2017)

Winner: Brodsky Cross-School Prize, Royal Northern College of Music (2017)

2nd Prize: Courtney Kenny Award for English Song and Poetry, AESS (2016)

Nominee: Best Female Performer, International Gilbert and Sullivan Festival (2014)

Winner: Best Duet, International Gilbert and Sullivan Festival (2014)

Winner: Best Female Voice, International Gilbert and Sullivan Festival (2014)

Nominee: Best Character Actress, UniFest at the International Gilbert and Sullivan Festival (2013)

Winner: Best Duet, International Gilbert and Sullivan Festival (2013)

"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." Soprano soloist (Mater Gloriosa) in Mahler's Symphony No. 8, Chetham's Symphony Orchestra; Robert Beale, The Arts Desk. (2019)

"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." She in Madeleine Dring's 'Cupboard Love', Byre Opera; Simon Thompson, The Times (Scotland) (2019)

"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." She in Madeleine Dring's 'Cupboard Love', Byre Opera; Keith Bruce, Herald Scotland. (2019)

“…soprano Caroline Taylor…gave impressively clear but delicate interpretations of a trio of reflective songs by the French Boulanger sisters, Lili and Nadia.” Soprano soloist in Sheffield Classical Weekend, Sheffield Philharmonic Chorus; Philip Andrews, Sheffield Telegraph. (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.” Adina (cover) in Donizetti's 'The Elixir of Love', King's Head Theatre and Opera'r Ddraig; Matthew Cleverly, Theatre T. (2019)

“Caroline Taylor was tidy as the coquettish little gossip, Gina.” Gina in Donizetti's 'The Elixir of Love', King's Head Theatre and Opera'r Ddraig; Anthony Evans, Planet Hugill. (2019)

“Star vocal performance of the evening went to understudy Caroline Taylor as Adina who will surely one day make a marvellous Marschallin in Rosenkavalier.” Adina (cover) in Donizetti's 'The Elixir of Love', King's Head Theatre and Opera'r Ddraig; Stuart King, London Box Office. (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.” Gina in Donizetti's 'The Elixir of Love', King's Head Theatre and Opera'r Ddraig; Debbie, Mind the Blog. (2019)

“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. (2018)

“It is consistently well sung and acted. Taylor and Edlin really wring your heart in their scenes together. ****” Tim Ashley, The Guardian. (2018)

“Most importantly, there was much fine singing, especially from the women […] Caroline Taylor was a feisty Helena of independence and impetuousness.” Helena in Jeremy Sams' The Enchanted Island, British Youth Opera; Claire Seymour, Opera Magazine. (2018)

“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. (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. ****” Lauretta in Puccini's Gianni Schicchi, RNCM Opera; Leighton Jones, Bachtrack. (2018)

“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. (2018)

“…[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.” Governess in Britten's 'The Turn of the Screw', Byre Opera; Michael White, The Catholic Herald. (2016)

“…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…” Governess in Britten's 'The Turn of the Screw', Byre Opera; Iain Fraser, Opera Scotland. (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…“ Governess in Britten's 'The Turn of the Screw', Byre Opera; Andrew Clark, Opera Magazine. (2016)

“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.” Governess in Britten's 'The Turn of the Screw', Byre Opera; Keith Bruce, Herald Scotland. (2016)

Wigmore Hall French Song Exchange
Wigmore Hall, École Normale de Musique (Paris)
2019–2020
Oxenfoord International Summer School
Oxenfoord International Summer School
2019
Concordia Foundation Artist
Concordia Foundation
2019
Opera North Chorus Mentor Scheme
Opera North, Royal Northern College of Music
2018–2019
PGDip: Advanced Studies in Musical Performance (Distinction)
Royal Northern College of Music
2018–2019
Clonter Spring Opera Showcase & Masterclasses
Clonter Opera
2018
Leeds Lieder Young Artist Platform
Leeds Lieder
2018
MMus Vocal Studies and Opera (Distinction)
Royal Northern College of Music
2016–2018
Erasmus year abroad
Université Paris IV-Sorbonne
2013–2014
MA (Hons) French, Italian, Spanish
University of St Andrews
2011–2015

Caroline Taylor studied at the Royal Northern College of Music, generously supported by the Oglesby Charitable Trust and Help Musicians UK. She was the winner of the 2018 Joyce and Michael Kennedy Award for Singing of Strauss (RNCM), First Prize at the 2019 Dean and Chadlington Singing Competition and Third Prize at the 2019 Jackdaws Maureen Lehane Vocal Awards. Caroline is a member of the 2019/2020 Wigmore Hall French Song Exchange.

Operatic roles include Gina (Giannetta) and cover Adina/The Elixir of Love (King’s Head Theatre, Opera’r Ddraig), Lauretta/Gianni Schicchi (RNCM Opera), Helena/The Enchanted Island (British Youth Opera), Governess/The Turn of the Screw and She in the European staged premiere of Madeleine Dring’s Cupboard Love (Byre Opera). In 2018, she created the role of Sara in Ben Kaye and Adam Gorb’s The Path to Heaven (Psappha). Concert performances include Handel/Messiah (Chesterfield Philharmonic Choir), Britten/Les Illuminations (Northern Ballet Sinfonia), Mahler’s Symphonies No. 4 (Helix Ensemble) and No. 8 (Chetham’s Symphony Orchestra at the Bridgewater Hall) and recitals for St James’s Piccadilly and St Martin in the Fields.

A keen advocate for outreach in the arts, Caroline is a Concordia Foundation Artist and recently performed on the wards of Chelsea and Westminster Hospital for CW+ charity. She has also taken part in dementia-friendly workshops with SoundUp Arts.

Contact Caroline Taylor

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