Lauded for her “strong presence both dramatically and musically” (The Arts Desk) and the “intriguing depth” (MusicOMH) of her portrayals, Beth Taylor is at the onset of a major international career.
Engagements in 2019 lead the young Scottish mezzo-soprano to Aix-en-Provence, where she makes her festival debut in a new production of Rihm's Jakob Lenz, to the New Generation Festival in Florence, where she appears as Marcellina in Le nozze di Figaro, to the Opéra de Lyon, where Beth performs Melanto, Anfinomo and Fortuna in Il ritorno d'Ulisse in patria as well as to the Concertgebouw of Amsterdam and to Utrecht for Mozart's Krönungsmesse KV317. In 2020 she will sing Bradamante in a new production of Alcina in Nancy and Dijon conducted by Leonardo Garcia Alarcon.
Recent highlights have included Arnalta in L’incoronazione di Poppea at the Longborough Festival, Rosmira in Partenope at the Iford Arts Festival, La Reine/Le Coucou/Le Chat in Respighi's La belle au bois dormant at the Opéra de Lyon, Fox/Dog/Hen in The Cunning Little Vixen at the Grimeborn Opera Festival and Olga in Eugene Onegin for Fife Opera.
Other operatic roles of her repertoire include Constanza (L’isola disabitata, Haydn), Ottone (Agrippina, Handel) Irene (Theodora, Handel), Cornelia (Giulio Cesare, Handel), Old Woman (The Day After, Dove) and Ramiro (La finta giardinera, Mozart).
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.