Help Musicians UK: Maidment Scholarship (2017)

Countess of Munster Musical Trust Postgraduate Award (2016)

Florence Veith Ibler Excellence Prize (2016)

Help Musicians UK Postgraduate Flemming Award (2016)

South Square Trust Postgraduate Award (2016)

Audience Prize: Grandi Voci Competition; Salzburg, Austria (2018)

Audience Prize: John Kerr Award for English Song (2018)

Best Individual Song: John Kerr Award for English Song (2018)

Grace Bumbry Scholarship: Grandi Voci Competition; Salzburg, Austria (2018)

Second Prize and President Renata Scotto Prize: Voce Dal Piemonte Concorso Internazionale, Italy (2018)

WINNER First Prize: Gianni Bergamo Classical Music Award; Lugano, Switzerland (2018)

Elgar Spedding Memorial Lieder Prize: First Prize (2017)

Hugh S. Roberton Scots Song Prize: First Prize (2017)

Governor's Recital Prize for Singing: First Prize (2016)

Jean Highgate Scholarship for Singing: Highly Commended (2014)

Gervase Elwes Memorial Trophy (2013)

Ian Barrie Award for Oratorio (2013)

As Eurimene, the disguised Rosmira, Taylor’s thrilling mezzo-soprano has astonishing depth and power which she uses across a palette of remarkable dramatic effects, singing with smooth, compelling energy but also able to shade her voice with whispers or growls, or allowing a near-shout to reach us through a note of anger: Taylor’s ambitiously risk-taking performance was at all times commanding, generally extremely successful, and thoroughly exciting to watch. (Charlotte Valori, Bachtrack) (2018)

Beth Margaret Taylor with the plum role of Rosmira-Handel always gives his best stuff to the wronged woman- made the most of it with a rounded, heartfelt performance that really made you want to rescue her from the frightful Arsace (Robert Thicknesse, Opera News Magazine September 2018 edition) (2018)

Beth Taylor , by turns cuckoo, cat and queen, is already a contralto with a charming voice, deep, round and amber reflections that should be watched. (Elodie Martinez, Opera Online 9th February 2018) (2018)

Beth Taylor not only a commanding queen with hefty chest-notes but a chirpy cuckoo and silkily sung cat as well. (Jonathan Sutherland, Bachtrack.com 11th February) (2018)

Beth Taylor, who plays the queen, the cuckoo and the cat, is a mezzo-soprano with a velvety timbre, and shows a good scenic ease. (Eman Deroeux, Olyrix France) (2018)

I particularly liked the rich mezzo voice of Glaswegian Beth Margaret Taylor, singing the role of Rosmira/Eurimene. Although not without vibrato, she was able to control it when needed, and her acting was one of the highlights of the production." (Andrew Benson-Wilson) "As Rosmira, Beth Margaret Taylor woos and wins everyone in the audience with her expressive performance, subtle from eyebrows to flexible voice." (Fine Times Recorder, 30th June) (2018)

promising mezzo Beth Margaret Taylor is a strong presence both dramatically and musically as the wronged Rosmira (Alexandra Colghan, the Artsdesk) (2018)

"There was gorgeous Monteverdi too, but the highlight of the evening, without a doubt, was the glorious rendering of Psalm 110, Dixit Dominus, by Handel. Each movement held something subtle, something notable, but if I had to pick out the moments, then the striking alto solo section, sung by Beth Taylor with continuo played by Viola de Hoog was pretty special..." (2017)

Keith Bruce, The Herald Scotland 15/01/2017 : "Note the name of mezzo-soprano Beth Taylor, because we should be hearing much more of her. Every soloist in Friday lunchtime’s concert was worth the fullest attention, but Taylor’s relaxed approach to Stravinsky’s Cantata from the early 1950s was quite remarkable. Her tone is beautiful but it was the constant sense of power is reserve, only occasionally hinted at in the score, that was truly impressive. She took this demanding music in her stride in a manner that quite contradicted her tender years" (2017)

Beth Taylor also made her mark as Olga, with some nice contralto tones. "Opera Scotland" Review (2016)

Beth Taylor was the one chorister to take two solo roles as attendant lady and witch, equally accomplished, though clearly differentiated, as were the two witches. "Opera Scotland" Review (2016)

The audience warmly welcomed back Mezzo Soprano Beth Taylor for her second set of songs. Beth has a wonderful voice & a very engaging personality. The audience gave her a rousing reception for her performance. Beth’s future career is destined for great things & we look forward to following her progress in years to come... Aeolian Male Voice Choir, 20/12/2015 (2015)

"Note the name of mezzo-soprano Beth Taylor, because we should be hearing much more of her”
(Keith Bruce, the Herald; January 2017)

Beth Taylor is in her final year of Postgraduate study at the Royal Conservatoire of Scotland, under the tutelage of Iain Paton. She graduated from the RCS in 2016 with First Class BMus Honours and was awarded the Florence Veitch Ibler Music Prize for Excellence in 2016. In 2012, Beth was the youngest graduate in the UK to be awarded a Diploma in Music and Humanities from the Open University.
Beth has been received numerous awards towards her studies and professional development. She is a grateful recipient of the Help Musicians UK Fleming Award, a Help Musicians UK Maidment Scholarship in 2017 and is also kindly supported by the Countess of Munster Musical Trust and the South Square Trust.
In competitions, Beth has won the prestigious Governor’s Recital Prize at RCS in April 2016, the Elgar Spedding Lieder and the Hugh S. Roberton Scottish Song Prizes in 2017. She will be representing the UK in 2018 at the International Vocal Competition s’Hertogenbosch (IVC) in the Netherlands.
Beth has already shown immense potential and has collaborated with many of the UKs foremost professional musicians. She is a soloist and ensemble performer for the Dunedin Consort, Sestina, Genesis Sixteen, Kellie Consort and most recently, the Royal Scottish National Orchestra. Beth has performed chorus and soloist works in some of the World’s leading music festivals including the Edinburgh International Festival, the Hertfordshire Festival of Music, the New Generation Festival in Italy and the St Magnus Festival in Orkney.

Her operatic roles include Constanza (L’Isola Disabitata, Haydn), Aninna/Flora (La Traviata, Verdi), Olga (Eugene Onegin, Tchaikovsky) Ottone (Agrippina, Handel) and the Fox (Cunning Little Vixen, Janacek). Upcoming roles in 2018 include Arnalta (L’incoronazione di Poppea, Monteverdi) with Longborough Festival Opera, Rosmira (Partenope, Handel) with Iford Arts Festival and the Queen/Cuckoo/Cat (La Bella Dormente nel Bosco, Respighi) with Opera De Lyon.

Beth has been fortunate enough to participate in masterclasses with renowned artists such as Sarah Connolly,
Susan Graham, Sir Thomas Allen, Dame Emma Kirkby and Jennifer Larmore, whom she now receives further coaching with in Paris.
Beth has also been Glasgow's Under 26 Ambassador Representative for Scottish Opera since 2014, where her passion for opera helps to promote more young people to attend and appreciate operas throughout Scotland. She also has a great interest in the field of ASN music education and outreach work. She was appointed vocal tutor with the Paragon Ensemble in 2014 as a music facilitator for young people with complex additional support needs.

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