Lauded by The Guardian for her “dark and focused” voice, “sensational coloratura” and “spectacular singing” and by The Times for her “fierce, indeed terrifying, cane-swishing” characterisations, Beth Taylor is one of today’s most electrifying young mezzo-sopranos.
In the 2022/2023 season, Beth makes her role debut as Arsace in Rossini’s Semiramide at the Deutsche Oper Berlin; her house debut at the Opernhaus Zürich as Giuliano Gordio in a new production of Cavalli’s Eliogabalo, her debuts at the Berlioz Festival in La Côte-Saint-André as Ursule in Béatrice et Bénédict, at the Théâtre de Beaulieu in Lausanne as the contralto soloist of Mozart’s Requiem and at the Gulbekian in Lisbon as the contralto soloist of Beethoven’s Missa Solemnis.
In the last three years, the mezzo-soprano has made a number of important debuts at prestigious venues: In summer 2022, Beth made her acclaimed debut at the Glyndebourne Festival as Bradamante in a new production of Alcina. Following her house debut as La Cieca in La Gioconda, she made her debuts as Erda in Das Rheingold, Erste Norn in Götterdämmerung and Schwertleite in Die Walküre in the Deutsche Oper Berlin’s new Stefan Herheim Ring cycle under the musical direction of Sir Donald Runnicles. She also sang her first Falliero in Rossini’s Bianca e Falliero in a new production at the Oper Frankfurt, where she made her house debut as Dardano in a new staging of Handel’s Amadigi di Gaula. At the Concertgebouw Amsterdam, she performed Argia in the first performances of Giacomelli’s La Merope in modern times with La Cetra and Andrea Marcon, while at Theater Basel Beth sang the contralto solo part in a staged version of Bach’s Matthäuspassion.
Other recent engagements have led her to to Madrid and Basel as Cornelia in Giulio Cesare under the baton of Andrea Marcon, to the Nancy Opera House in her role debut as Bradamante in a new production of Alcina led by Leonardo Garcia Alarcon, to the Concertgebouw Amsterdam in Mozart’s Krönungsmesse KV317, to the Aix-en-Provence Festival, where she made her festival debut in a new production of Rihm’s Jakob Lenz, to the New Generation Festival in Florence, where she appeared as Marcellina in Le nozze di Figaro, to the Opéra de Lyon as Melanto, Anfinomo and Fortuna in Il ritorno d’Ulisse in patria, to the Longborough Festival as Arnalta in L’incoronazione di Poppea, to the Iford Arts Festival as Rosmira in Partenope, to the Opéra de Lyon as La Reine/Le Coucou/Le Chat in Respighi’s La belle au bois dormant, to the Grimeborn Opera Festival as Fox/Dog/Hen in The Cunning Little Vixen and to the Fife Opera as Olga in Eugene Onegin.
Beth Taylor is a graduate of the Royal Conservatoire of Scotland and The Open University. She is currently refining her technique under the tutelage of Jennifer Larmore and Iain Paton. Beth has participated in masterclasses with renowned artists such as Sarah Connolly, Susan Graham, Sir Thomas Allen, Sophie Daneman and Dame Emma Kirkby.
She is the winner of the 2022 Elizabeth Connell Award, 3rd prize winner of the 2019 Wigmore Hall Competition and the winner of the 2018 Gianni Bergamo Classical Music Awards.