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Katharine Taylor-Jones

Voice Type:

Contralto

Nationality:

British

Country:

United Kingdom

Languages (fluent):

English

Opera

Marquise De Birkenfeld (Marsha Berkenfield)
The Daughter of the Regiment (Donizetti)
Opera Della Luna - Buxton International Festival
2018
Bianca
The Rape of Lucretia (Britten)
Grimeborn Festival
2018
Public Opinion
Orpheus in the Underworld (Offenbach)
Opera della Luna - for Iford Arts
2015
Rossweisse
Die Walküre (Wagner, arr Dove)
Berwick Festival Opera
2015
Marquise De Birkenfeld
La fille du regiment (Donizetti)
Opera Della Luna - for Iford Arts
2014
Mrs Noye
Noye's Fludde (Britten)
Highbury Opera Theatre
2013
Anna
Tobias and the Angel (Dove)
Highbury Opera Theatre
2012
The Mother
The Homecoming (Heimkehr Aus der Fremde) (Mendelssohn)
Ryedale Festival Opera
2010

Operetta/G&S

Marchioness
The Queen's Lace Handkerchief (Johann Strauss)
Opera della Luna
2017
Kate
Pirates of Penzance (Gilbert and Sullivan)
The G & S Company, Buxton Opera House
2006
Chorus
HMS Pinafore (Gilbert & Sullivan)
D'Oyly Carte
2003
Leila
Iolanthe (Gilbert & Sullivan)
The G & S Company, Buxton Opera House
2002
Chorus
Iolanthe (Gilbert & Sullivan)
D'Oyly Carte
2002
Chorus
Yeoman of The Guard (Gilbert & Sullivan)
D'Oyly Carte
2002

Chorus

Chorus (2nd Alto)
The Flying Dutchman (Wagner)
English National Opera
2012
Chorus (2nd Alto)
The Mastersingers (Wagner)
English National Opera
2015
Chorus (2nd Alto)
Fidelio (Beethoven)
English National Opera
2013
Chorus (2nd Alto)
Eugene Onegin (Tchaikovsky)
English National Opera
2011
Chorus (2nd Alto)
The Passenger (Weinberg)
English National Opera
2011
Chorus (2nd Alto)
La bohème (Puccini)
English National Opera
2009
Chorus (2nd Alto)
Dr Atomic (Adams)
English National Opera
2009
Chorus (2nd Alto)
Cavalleria rusticana / Pagliacci (Mascagni / Leoncavallo)
English National Opera
2008
Chorus (2nd Alto)
Boris Godunov (Mussorgsky)
English National Opera
2008
Chorus (2nd Alto)
Macbeth (Verdi)
Opera North
2007
Chorus (2nd Alto)
Romeo & Juliet (Gounod)
Opera North
2007
Chorus (2nd Alto)
Pinocchio (Dove)
Opera North
2007
Chorus (2nd Alto)
Peter Grimes (Britten)
Opera North
2007

Oratorio/Concerts

Alto soloist
Nelson Mass; Ma (Haydn; Bach)
Hull Choral Union
2014
Alto soloist
Elijah (Mendelssohn)
Abingdon/Didcot Choral Society
2014
Alto soloist
St John Passion - English (Bach)
Oakham
2014
Alto soloist
Requiems (Mozart; M Haydn)
Chipping Norton Choral Society
2012
Alto soloist
The Messiah (Handel)
Oakham
2012

Covered Covered & Performed Scenes Premiere of New Work Concert

Katharine Taylor-Jones. Photographer Chris Baker

Katharine Taylor-Jones. Publicity Photo: Chris Baker.

Katharine Taylor-Jones. Publicity photo: Chris Baker.

La Fille du Regiment (Iford Festival 2014), Photo: Rob Coles

La Fille du Regiment, Iford Festival 2014 (photo: Rob Coles)

La Fille du Regiment, Iford Festival, 2014

'Marsha' Birkenfeld, La Fille du Regiment, Iford Festival

Orpheus Company, Opera della Luna at Iford. 2015.

Public Opinion (and Orpheus), Orpheus in the Underworld, Opera della Luna at Iford, 2015.

Public Opinion (and Orpheus). Iford Festival, 2015.

Public Opinion, Orpheus in the Underworld, Opera Della Luna for Iford Arts

'The Homecoming'. Ryedale Festival /Grimeborn at The Arcola Theatre, 2013. Photo: Matt Jamie.

'The Homecoming'. Ryedale Festival and Grimeborn at The Arcola Theatre, 2013. Photo: Matt Jamie.

"....Katharine Taylor-Jones as the Marchioness sings with fruity richness" (Blanche Marvin, London TheatReviews) (2017)

'.....knowing theatricality was supplied by Katharine Taylor-Jones as the redoubtable Marchioness". (Opera Magazine) (2017)

'It is impossible not to warm to the savoir faire of Charles Johnston’s preposterous Prime Minister, Katharine Taylor-Jones’ glamorously knowing Marchioness and Nicholas Ransley’s expertly sung Don Sancho' (The Stage) (2017)

'Katharine Taylor-Jones is acetic as his wife' (The Spectator) (2017)

'Katharine Taylor-Jones was a wise and stable presence as The Marchioness'. (Opera Today)(2017) (2017)

'I particularly enjoyed Katharine Taylor-Jones’s Public Opinion, libellously presented in the guise of a pontificating assessor from the Arts Council with boxes to tick and forms to fill.' Rupert Christiansen (The Telegraph) (2015)

‘… as impressive was Katharine Taylor Jones’ Marsha Berkenfield, a statuesque figure wearing the vintage dresses with assurance and poise, her warm mezzo voice supple through the range.’ Iford Arts La Fille du Regiment (Opera Today) (2014)

'His mistress, the redoubtable Marsha Berkenfield, is Katharine Taylor-Jones, who manages to tread a balance between outer fabulousness and inner vulnerability, making Miss Berkenfield both interesting and human (instead of snotty and irritating, as she can sometimes be). Taylor-Jones gets the very best of the excellent costumes...' Bachtrack Ltd (2014)

‘Kathy Taylor-Jones was touching as Frau Schulz’. Die Heimkehr aus der Fremde (The Independent on Sunday) (2010)

‘There was very attractive singing from Kathy Taylor-Jones’. (Yorkshire Post) (2010)

‘Kathy Taylor–Jones …performed with enormous confidence….Her diction was excellent… She has a wonderful voice, which has great depth, and this was a highlight for me, not only of the evening, but of the whole season of concerts.’ Elgar’s Sea Pictures (Mid-Somerset Newspapers) (2008)

Katharine Taylor-Jones has appeared with many companies in the UK and abroad including Opera North, English National Opera, Opera della Luna, D'Oyly Carte and the Bregenzer Festspiele.

OPERA
Recent operatic roles include Marchioness in the UK premiere of Johann Strauss' 'The Queen's Lace Handkerchief, for Opera della Luna at Wilton's Hall, London; Public Opinion in Opera della Luna's 'Orpheus in the Underworld' at Iford Festival and The Lowry At Salford Quays; Rossweisse in Die Walkure with Berwick Festival Opera. Other roles include The Marquese de Berkenfeld in 'La Fille du Regiment' also for Opera Della Luna at Iford, Mrs Noye (Noye’s Fludde) and Anna (Tobias and the Angel), both roles for Highbury Opera Theatre; Frau Schulz in Mendelssohn’s rarely performed 'Die Heimkehr aus der Fremde' with Ryedale Festival Opera, and Grimeborn Festival at the Arcola Theatre in London.
Katharine has also played the title role in Carmen; Marcellina (The Marriage of Figaro); Berta (The Barber of Seville); The Mother (Menotti's The Consul); French Mother (Death in Venice) and Allure (Playing Away) for the Aldeburgh Festival and the Bregenzer Festspiele, Austria.

She appeared with D'Oyly Carte at the Savoy Theatre in the West End, performing in Yeoman of The Guard, Iolanthe and HMS Pinafore. At The Buxton Opera House she has performed the roles of Leila (Iolanthe); and Inez and Vittoria (The Gondolier)s with The Gilbert & Sullivan Opera Company; and Pitti-Sing (The Mikado) for Carl Rosa Opera Company in the USA.

In addition, Katharine has narrated Stravinsky’s 'A Soldier’s Tale' for Hand Made Opera, and Walton’s 'Façade' for both The Opera Project and Hand Made Opera.

RECENT PROJECTS
Recent projects in 2017 included Elgar's 'Sea Pictures', a recording project (Harvergal Brian) with English National Opera, leading music theatre workshops for Celebrate Voice Festival in Salisbury, and for Werkitt Productions in London, as well as appearing as the guest soloist in three concerts with Read's Warblers in Yorkshire at Christmas. Plans for 2018 include reprising the role of Marsha Birkenfield (The Marquese de Bergenfield) in Opera della Luna's production of La Fille du Regiment. Performances will be at Buxton International Festival, and at Wilton's Music Hall in London.

CONCERTS AND ORATORIO
Katharine's extensive oratorio and concert experience as an alto soloist includes B Minor Mass (Bach), Requiems by Mozart, Durufle, Faure and M Haydn; Mass in C and Missa Brevis (Mozart), The Dream of Gerontius and Sea Pictures (Elgar), Elijah (Mendelssohn), Vespers (Rachmaninov), The Messiah (Handel), Serenade to Music (Vaughan Williams), and the Nelson Mass (Haydn).

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