"....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 English National Opera, Opera della Luna, Opera North, D'Oyly Carte and the Bregenzer Festspiele.

OPERA
Most recent peratic roles include Public Opinion in Opera della Luna (ODL)'s 'Orpheus in the Underworld' for Buxton International Festival, Iford Festival, The Lowry and at the Bloomsbury Theatre, London; Marquese de Berkenfeld in 'La Fille du Regiment' also for ODL at Buxton Festival, and Wilton's Hall in London; Biance in 'The Rape of Lucretia' at Grimeborn Festival, London. Previously she sang the role of the Marchioness in the UK premiere of Johann Strauss' 'The Queen's Lace Handkerchief, for ODL at Wilton's Hall, London; Rossweisse in 'Die Walkure' with Berwick Festival Opera. Other roles include 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.

LOCKDOWN PROJECTS
Lockdown projects included creating the role of Virginia in the new jazz opera 'The Weekend', composed by Scott Stroman, libretto by Tamsin Collison and book by Michael Palin. The work was recorded in December 2020 - in a socially distanced set-up at the Guildhall School of Music and Drama.

FORTHCOMING PROJECTS IN 2021
These include the role of Grimgerde in the London Opera Company production of 'Die Walkure' in London; the role of Virginia Febble in the premiere of jazz opera 'The Weekend', (see above for creative team) to be produced by Highbury Opera Theatre at the Bloomsbury Theatre.

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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