Maidment Award, Help Musicians UK (2018)

Oglesby Scholarship, Royal Northern College of Music (2018)

Postgraduate Bursary, Royal Northern College of Music (2018)

The Clemence Charitable Trust, Award (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 (joint): Dean and Chadlington Singing Competition (2019)

Finalist: Elizabeth Harwood Memorial Prize, Royal Northern College of Music (2019)

Semi-finalist: Mozart Singing Competition (2019)

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)

Highly commended: Brodsky Cross-School Prize, Royal Northern College of Music (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)

"All 8 [soloists] were without any doubt superb [...] However, the two most pleasing voices for me came from the off-stage soprano whose clarity of diction and purity of sound surpassed any of the on-stage singers. Whether this was due to her proximity in the hall or not though I couldn't tell. I believe this was soprano, Caroline Taylor." Soprano soloist (Mater Gloriosa) in Mahler's Symphony No. 8, Chetham's Symphony Orchestra; Matthew Dougall, Reviewer Numbernine. (2019)

"As a team [the soloists] would have been the envy of any promoter, and perhaps the greatest excellence of this concert lay in their being together to do it [...] Caroline Taylor, stationed on high in the auditorium to sing the Mater Gloriosa’s benedictions at the close, floated her tone down like gentle rain from heaven." Soprano soloist (Mater Gloriosa) in Mahler's Symphony No. 8, Chetham's Symphony Orchestra; Robert Beale, The Arts Desk. (2019)

"Caroline Taylor gives a glittering performance in what turns out to be a remarkable and compelling show [...] They’ve assembled some remarkable young singers, especially Katherine Gunya, haunting as the grieving mother in Riders, and the glittering soprano of Caroline Taylor in Cupboard. It’s a company effort, though, and all the more admirable for that. This show would be compelling under any circumstances but in the light of the performers’ age and stage, it is pretty remarkable." She in Madeleine Dring's 'Cupboard Love', Byre Opera; Simon Thompson, The Times (Scotland) (2019)

"Caroline Taylor has developed vocally and dramatically during her time studying in Manchester - a lovely pure, sweet soprano, with every word clear. She is also a keen actor [...] This double bill was great fun and should ensure that we get to know both works better." She in Madeleine Dring's 'Cupboard Love', Byre Opera; Iain Fraser, Opera Scotland. (2019)

"In director PJ Harris' inventive staging, vivacious soprano Caroline Taylor and baritone Theodore Day were a besotted couple who recall the pair in Steven Berkoff’s Decadence, and Ross McArthur the camp, lively corpse of her husband, whose convenient demise is the mystery of Dan Aitken’s libretto [...] Byre Opera's adventure is one to watch." She in Madeleine Dring's 'Cupboard Love', Byre Opera; Keith Bruce, Herald Scotland. (2019)

"The singers compiled an entertaining mix of music that showed off just how versatile they now are [...] Both singers showed a real development in technique and confidence in diction - clarity honed, no doubt, by years of experience in Gilbert and Sullivan, but they were equally proficient in the Italian items, plus a bonus in effective Hispanic and American accents for the Bernstein. Perhaps the favourite extract was the most unfamiliar one - the superb 'Cherry Duet' from Mascagni's charming romantic comedy L'amico Fritz." Soloist in 'A Night at the Opera'; Stephen Fraser, Opera Scotland. (2019)

“…soprano Caroline Taylor…gave impressively clear but delicate interpretations of a trio of reflective songs by the French Boulanger sisters, Lili and Nadia.” Soprano soloist in Sheffield Classical Weekend, Sheffield Philharmonic Chorus; Philip Andrews, Sheffield Telegraph. (2019)

"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)

“…Taylor and Finsbury truly shone as Sara and Hanna respectively. Taylor was able to give a strong vocal performance against the often overpowering musical accompaniment […] it was a quality production, with the orchestra expertly conducted by Mark Heron and exceptional vocal work from Taylor, Finsbury, and Vallis as the leads.” Andrew Marsden, Reviewer Numbernine. (2018)

“…the thwarted young lovers Lauretta and Rinuccio at this performance […] brought a fresh silvery innocence to their singing that was very appealing, and Lauretta had the audience in the palm of her hand during her famous “O mio babbino caro” aria.” Lauretta in Puccini's Gianni Schicchi, RNCM Opera; Thalia Terpischore, Reviewer Numbernine. (2018)

“Caroline Taylor brought an engaging soprano sound and lively stage awareness to the role of Sara, joining feelingly in several trios with Fiona Finsbury (soprano) as Hanna and Lucy Vallis (mezzo) as Magda.” Martin Dreyer, Opera Magazine. (2018)

“It is consistently well sung and acted. Taylor and Edlin really wring your heart in their scenes together. ****” Tim Ashley, The Guardian. (2018)

“Most importantly, there was much fine singing, especially from the women […] Caroline Taylor was a feisty Helena of independence and impetuousness.” Helena in Jeremy Sams' The Enchanted Island, British Youth Opera; Claire Seymour, Opera Magazine. (2018)

“Natalie Davies and Caroline Taylor’s characters Hermia and Helena felt a little underwritten but given the opportunity to shine in the duet “Men are fickle” they sparkled. ****” Anthony Evans, Planet Hugill. (2018)

“The aria “O mio babbino caro”, sung by Caroline Taylor as Lauretta, was performed with simple sincerity – a refreshing change from the cloying nature in which it’s often heard. ****” Lauretta in Puccini's Gianni Schicchi, RNCM Opera; Leighton Jones, Bachtrack. (2018)

“The opera is beautifully constructed […] the music…is of extraordinary skill, passion and beauty […] The acting singers…were highly effective in character portrayal and excellent in sound. ****” Robert Beale, The Arts Desk. (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 recently graduated with Distinction from the Royal Northern College of Music. Prior to this, she read for an MA (Hons) in French, Italian and Spanish at the University of St Andrews, where she received the Cedric Thorpe Davie Memorial Prize for outstanding musical contribution. She is generously supported by an RNCM Oglesby Scholarship, the Mario Lanza Educational Foundation, the Lynn Foundation, the Clemence Charitable Settlement and Help Musicians UK, with whom she holds a Maidment Award. She currently studies with Louise Winter and Nicholas Powell; 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; and she was a finalist in the 2018 Concerto Competition and 2019 Gold Medal. She represented the RNCM in the 2018 Sir Anthony Lewis Memorial Prize with Musica Britannica, winning first prize, and in the 2018 Gerald Moore Award with pianist Sid Ramchander. She was a member of the 2018 Opera North Chorus Mentor Scheme, an RNCM Songster and a Leeds Lieder Young Artist; and has recently become a Concordia Foundation Artist, making her debut recital earlier this year.

Concert performances include soprano soloist in Monteverdi/Vespers of 1610 (Phoenix Singers), Handel/Messiah (Chesterfield Philharmonic Choir) and Jephtha (St Andrews Chorus), Vivaldi/Gloria (Anstruther Philharmonic Society), Bach/Mass in B Minor (Kellie Consort) and St John Passion (Chester Music Society), Vaughan Williams/Sinfonia Antarctica (Dundee Symphony Orchestra), Boulanger/Soir sur la plaine (Sheffield Philharmonic Chorus), Britten/Les Illuminations (Northern Ballet Sinfonia) and Mahler's Symphonies No. 4 (Helix Ensemble, chamber arrangement) and No. 8 (Chetham's Symphony Orchestra, Mater Gloriosa). Opera credits include Lauretta/Gianni Schicchi (RNCM Opera), Helena/The Enchanted Island (British Youth Opera), Governess/The Turn of the Screw and Miss Wordsworth/Albert Herring (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). In June 2018, she created the role of Sara in Ben Kaye and Adam Gorb's The Path to Heaven (Psappha); and in June 2019, she performed the role of She in the European staged premiere of Madeleine Dring's Cupboard Love (Byre Opera).

Caroline looks forward to performing in the Final of the Dean and Chadlington Singing Competition later this month. She also joins Chester Cathedral Nave Choir as the soprano soloist in Brahms' A German Requiem before taking part in this year's Oxenfoord International Summer School (generously supported by the Nicholas Boas Charitable Trust).

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