Media

What the Critics say:

With her ravishingly beautiful voice, her sensitivity to nuances in a poetic text, and her skill at molding the contour of a vocal line, it is no surprise to hear that she has been much in demand… This is a great new voice that you simply must hear.
(Wagner/Elgar CD), Audio Club of Atlanta, January 2016

Sarah Rose Taylor lends her rich, dark mezzo to the lush texture of the work (Wagner’s Wesendonck Lieder). Taylor’s instrument is of a goodly size with a firm, nicely focused lower register and an expressive top… (She) gives a fine account of the songs (Elgar’s Sea Pictures). Not only is the album interesting for its repertoire tastefully and compellingly performed, but it makes yet another case for understanding the far-reaching influence of Richard Wagner’s “Music of the Future” on not only the late nineteenth century but on subsequent generations. Recommended!
(Wagner/Elgar CD), Fanfare, 2015

Sarah Rose Taylor’s voice is warm, radiant and creamy…first class...
(Wagner/Elgar CD), Music & Vision, Sydney, 2015

Ms. Taylor's ravishing voice…filled with lyrical tenderness and power as needed. I am very impressed with her vocal artistry. It is unforgettable and Sarah Rose Taylor is a marvel!
(Wagner/Elgar CD), Gapplegate Music Review, 2015

This was sung with gorgeous shading and intensity by Sarah Rose Taylor, a New York mezzo-soprano whose clarity and focus brought the audience to rapt attention, setting just the right mood for the transition to the drama of the final movement. ('Urlicht' from Mahler's Second Symphony)
The Boston Musical Intelligencer, 2014 (For the full review, please click here)

Mahler’s special way with creating a sense of tranquility and emotional arrival in these last movements was particularly well suited to the golden voice of Sarah Taylor as she sang with deep soulfulness nested within the long-held chords of the orchestra and the soft flight of soaring woodwinds. ('Urlicht' from Mahler's Second Symphony)
Nelson Brill - Boston Concert Reviews, 2014

There were five fine soloists...contralto Sarah Rose Taylor’s dialogue with the oboe d’amore in Qui sedes was graceful."
Telegram.com, Worcester, MA, 2012

With mellifluous tone and colorful vocal palette, Sarah Rose Taylor deftly painted Elgar's Sea Pictures upon the imagination of her delighted audience. Her interpretation of the Wagner Wesendonck Lieder was similarly compelling. Further, if one closed one's eyes, it was not a single instrument but a full symphony orchestra that supported Taylor's performance; Mr. Potts is not only a fine accompanist but also a master of transcription!
Krista Mays, Artistic Director, Mary McDonald Music Series, Fort Smith, AR, 2014

We were thrilled with Nigel and Sarah. The way they worked together was seamless and the balance was perfect. Nigel’s registrations were exquisite and his technique is dazzling. The choice of Elgar’s Sea Pictures was brilliant -it is rarely heard. Sarah did a beautiful job of interpreting the piece, Nigel’s transcription captured all the colors in the orchestra in a breath taking way. The audience loved the enchanting evening these two wonderful musicians brought to us.
Margaret Lacy, Artistic Director of Friends of Aeolian-Skinner Op. 1024, St. Andrew's Church, Amarillo, TX, 2014

Listen:

'Se Romeo' from Bellini's I Capuleti e i Montecchi, Karen Kamensek conducting the AIMS Festival Orchestra, Congress Graz, Stefaniensaal.

'Urlicht' from Mahler's Second 'Resurrection' Symphony Channing Yu conducting the Mercury Orchestra, Cambridge, MA