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Covered Covered & Performed Scenes Premiere of New Work Concert
Nomination for Best Performance in an Opera, Southampton Daily Echo Curtain Call (2017)
Postgraduate Award, Help Musicians UK (2017)
Entrance Scholarship (Richard Newitt Fund), Royal Northern College of Music (2016)
Philip Johnston Award for Musical Excellence, Southampton Operatic Society (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)
Brodsky Cross-School Prize, Royal Northern College of Music (2017)
2nd Prize, Courtney Kenny Award for English Song and Poetry (AESS) (2016)
Best Duet, International Gilbert and Sullivan Festival (2014)
Best Female Voice, International Gilbert and Sullivan Festival (2014)
Nomination for Best Female Performer, International Gilbert and Sullivan Festival (2014)
Best Duet, International Gilbert and Sullivan Festival (2013)
Nomination for Best Character Actress, UniFest at the International Gilbert and Sullivan Festival (2013)
“…[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)
“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." Elsie in Sullivan's 'The Golden Legend', University of St Andrews Gilbert and Sullivan Society; Iain Fraser, Opera Scotland (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)
Caroline Taylor is a second-year postgraduate soprano at the Royal Northern College of Music, where she studies with Louise Winter. Prior to this, she read modern languages at the University of St Andrews, where she held the Cedric Thorpe Davie Vocal Scholarship.
Since commencing study at the RNCM, Caroline has performed scenes as Blanche de la Force in Poulenc 'Dialogues des Carmélites' and Suzel in Mascagni 'L’amico Fritz'. She was a soloist in the Bach 'St John Passion', a finalist in the Joyce and Michael Kennedy Award for Singing of Strauss and won the 2017 Brodsky-Cross School Prize with her chamber ensemble, the Lucrezia Trio. She is also one of this year’s RNCM Songsters.
Upcoming engagements include the title role in Massenet 'Cendrillon' with RNCM Opera and concerts around the UK. Caroline’s studies have been generously supported by the Richard Newitt Fund and by Help Musicians UK, with whom she is a current Postgraduate Award Holder.
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