Maidment Award, Help Musicians UK (2018)

Oglesby Scholarship, Royal Northern College of Music (2018)

Postgraduate Bursary, Royal Northern College of Music (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)

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)

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)

"Still studying, but already possessing a the ability to express the lyrics and the music to the audience (without it feeling at all forced or dominant), Caroline Taylor is clearly a name to watch out for. Backed up by some energetic (where appropriate) string playing in Britten's 'Les Illuminations' her singing entranced the good sized audience. Ms. Taylor also provided the class end to the chamber orchestra arrangement of Mahler's Symphony No. 4 that formed the second half of the concert." Soloist in Britten's 'Les Illuminations' and Mahler's 'Symphony No. 4' (chamber arrangement), Helix Ensemble; Roger Swann. (2018)

“Clearly relishing her title role Caroline Taylor as Lucette, known as Cendrillon, excelled both in voice and acting prowess moving with grace. Looking elegant in her gorgeous evening dress and suitably demure in her adopted personality Taylor made a most credible downtrodden heroine who has found love with a handsome Prince. Reasonably bright with a light creamy tone the soprano doesn’t have a particularly large voice, but it’s a most attractive one. The coloratura requirements and high notes were satisfyingly achieved by Taylor displaying real promise." Cendrillon in Massenet 'Cendrillon', RNCM Opera; Michael Cookson, Seen and Heard International (2017)

“…[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 postgraduate soprano studying at the Royal Northern College of Music under Louise Winter. Prior to this, she read for an MA (Hons) in French, Italian and Spanish at the University of St Andrews, where she graduated as the recipient of the Cedric Thorpe Davie Memorial Prize. She is generously supported by the Richard Newitt Fund, the Mario Lanza Educational Foundation, the Lynn Foundation and Help Musicians UK, with whom she holds a Maidment Award. Her previous teachers include Anthony Roden and Jonathan May.

At the RNCM, Caroline won the 2018 Joyce and Michael Kennedy Award for Singing of Strauss and the 2017 Brodsky Cross-School Prize with her chamber ensemble, the Lucrezia Trio; she was also a finalist in the 2018 Concerto Competition. She represented the RNCM in the 2018 Sir Anthony Lewis Memorial Prize with Musica Britannica, winning first prize.

Concert performances include soprano soloist in Monteverdi/Vespers of 1610 (Phoenix Singers), Handel/Messiah (Chesterfield Philharmonic Choir), Vivaldi/Gloria (Anstruther Philharmonic Society), Bach/Mass in B Minor (Kellie Consort) and St John Passion (RNCM), Handel/Jephtha (St Andrews Chorus), Vaughan Williams/Sinfonia Antarctica (Dundee Symphony Orchestra), Britten/Les Illuminations and the chamber arrangement of Mahler Symphony No. 4 (Helix Ensemble). Opera credits include the title role in Massenet/Cendrillon (RNCM Opera), Governess/The Turn of the Screw, Miss Wordsworth/Albert Herring and Coridon/Acis and Galatea (Byre Opera), Yum-Yum/The Mikado (Southampton Operatic Society), Papagena/The Magic Flute (St Andrews Voices) and scenes as Tina/Flight, Suzel/L’amico Fritz and Blanche de la Force/Dialogues des Carmélites (RNCM) and Sophie/Der Rosenkavalier (Edinburgh Festival Fringe).

Caroline is an RNCM Songster and a Leeds Lieder Young Artist with her duo partner, Anna Chiu; recent recitals include St Ann’s Church, Manchester and Uppermill Festival Coffee Concert Series. She has a keen interest in 20th and 21st century song and has performed Messiaen Chants de Terre et de Ciel and Paul Patterson The Sorriest Cow of Capricorn in concert. In 2016, she won second prize in the AESS Courtney Kenny Award for English Song and Poetry.

In June 2018, Caroline will create the role of Sara in Ben Kaye and Adam Gorb’s The Path to Heaven. She also looks forward to joining British Youth Opera as Helena in The Enchanted Island and returning to RNCM Opera as Lauretta in Puccini’s Gianni Schicchi.

Any message that you send here will be checked by Audition Oracle for suitability (to filter out spam), and then forwarded to Caroline Taylor.