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Daniel Taylor |
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Daniel Taylor and The Theatre of Early Music
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 2010: Daniel Taylor conducting the TEM choir |
 November 2011 New York Weill Recital Hall, Carnegie Hall Daniel Taylor with Theatre of Early Music players |
 2007: Daniel Taylor conducting the TEM Choir and Orchestra |
 2006: Vivaldi’s Stabat Mater TEM with dance company Coleman & Lemieux From Kudelka’s ‘It is as it was’ |
Recent Press Cuttings:
Top
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Duet sings to perfection, provides special treat at Music and Beyond Festival
"..... highlighting Emma Kirkby, probably the finest baroque soprano before the public today.
Kirkby and Taylor joined forces for the famous duet "O Lovely Peace", after which Taylor sang the aria "Father of Heaven". .......he did not disappoint.
The soprano’s voice ...was perfect for the piece. Even the greatest voice will sing in vain if it is not owned by a good musician, but Kirkby is among the best.
.... most authentically played by musicians from Daniel Taylor’s Theatre of Early music. Their playing was, as usual, so elegant ...... a lovely performance of Bach’s Concerto in D minor for violin and oboe with violinist Adrian Butterfield and oboist John Abberger ...
The aria "For Thee" from Handel’s last Oratorio, Theodora, was offered as an encore. Kirkby and Taylor sang it to perfection, providing the most beautiful moments of the evening."
Richard Todd, Ottawa Citizen July 11, 2011
Daniel Taylor speaks of Emma Kirkby in Ottawa Citizen, July 2011:
"Her humble approach is a gentle reminder of what is so often missing from performances: there is an honesty in her every note,"
- Reviews of 2011 Sony recital disc "Come Again, Sweet Love",
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No one does musical melancholy better than Canadian countertenor Daniel Taylor
"As François Filiatrault eloquently points out in the accompanying booklet, music was an integral part of Shakespeare’s plays, as references, as actual songs to be performed and as background music played by an offstage consort. In this new album, Canadian countertenor Daniel Taylor brings together his favourite collaborators in his Theatre of Early Music for a rich, 21-track sampler of all things musically Shakespearean.
Of course, we get the title song, performed this time by tenor Charles Daniels instead of Taylor. Also present is veteran soprano Emma Kirkby in this beautiful-sounding recording made in London's Henry Wood Hall last June. Taylor sings solo for eight of the songs, including the gorgeous opener, "By Beauteous Softness," set by Henry Purcell and accompanied by Elizabeth Kenny on lute. Taylor’s voice, still lush, has darkened over the past few years, adding an even deeper lustre to the melancholy he clearly cherishes. Although the selection of songs covers all moods and occasions, the preponderance is for introspection, if not outright lament. And no one does this as well as Taylor these days. Kenny is a pleasure in a solo Galliard by John Dowland. Fabulous soprano Carolyn Sampson brings a powerful, lithe delicacy to "If Music be the Food of Love," in another Purcell setting. Baritone Neal Davies does well in the ensemble songs as well as in his one solo: John Dowland's "If My Complaints Could Passions Move." There could hardly be finer accompaniment to a rainy summer afternoon."
John Terauds May 31st 2011 Toronto Star
"As founder and artistic director of the Montreal-based Theatre of Early Music (TEM) and a singer of international renown with over 60 recordings to his credit, Canadian countertenor Daniel Taylor is now at a point in his career where, on the Sony label, he headlines a recording that counts among its vocal performers Dame Emma Kirkby, Michael Chance and Charles Daniels as well as Carol Sampson and Neal Davies. Drawing on repertoire inspired by, referred to or performed in the plays of Shakespeare, this is a delightful and varied collection of solos, duets and madrigals complemented by adept instrumentalists from two different ensembles: TEM’s Elizabeth Kenny and Jacob Heringman on lute and Fretwork’s Richard Boothby and Richard Campbell on viola da gamba. A most wonderful confluence occurs in the various combinations of voices as in Orlando Gibbons’ The Silver Swan and particularly when countertenors Taylor and Chance duet in Robert Jones’ Sweet Kate and Thomas Morley’s Sweet nymph, come to thy lover. Purcell’s By Beauteous softness and If music be the food of love as well as Johnson’s Full Fathom Five are interpreted with tender affect by Taylor, Sampson and Davies respectively. Charles Daniels is given the title track and Emma Kirby adds a light-hearted flavour to Now what is love? This collection, recorded in London, is highly recommended as a feast of love for a mid-summer’s night."
Dianne Wells, The Wholenote
"Accompanied by the voices and period instruments of the Theatre of Early Music, celebrated countertenor Daniel Taylor here presents a collection of songs drawn from, or influenced by, Shakespeare, composed by the likes of Gibbons, Purcell and Dowland. Vocal leads and arrangements are shared: the results include a four-part madrigal setting of Gibbons’ "The Silver Swan"; solo pieces accompanied by theorbo, such as Taylor’s poised expression of a woman who "with such sweetness and such justice reigns" in Purcell’s "By Beauteous Softness"; and tenor Charles Daniels’s extended swoon of ardour through Dowland’s "Come Again, Sweet Love Doth Now Invite"."
The Independent UK, June 2011
"If you Google the words Shakespeare and songs/music you will find dozens upon dozens of releases but this new 21-track CD by Montreal’s Daniel Taylor will most likely rank up there as one of the best of contemporary times.
Taylor is a star of classical music who established the Quebec-based Theatre Of Early Music a decade ago that often records baroque, Elizabethan music. Taylor is known for his superb countertenor and on Come Again Sweet Love he covers mostly ballads written by Henry Purcell (1659-1695), Edward Johnson (1572-1601), Tobias Hume (1569-1645) and others of the era who sometimes used Shakespeare’s text for their compositions.
There is a lovely song by Dame Emma Kirkby on Now What Is Love? with text by Sir Walter Scott . A few other singers help out as well, but Taylor consistently steals the show on this lengthy classical disc.
There are extensive liner notes making this a musicologists dream release and the few heavenly instruments with lute, viola, theorbo and bass makes this a delightful listen that harkens way back to the antiquities of popular song of the day.
The Guardian, Britain’s mainstay newspaper, heralded Daniel Taylor with "he is part angel, part man....Taylor sings beautifully"..."
bclocalnews.com
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No one does musical melancholy better than Canadian countertenor Daniel Taylor
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TEM concert "Star of Wonder" at Knox Presbyterian Church
BWV 140 "Wachet Auf, Ruft Uns Die Stimme " (Sleepers Awake)
“The opening chorus set the tone for a more than successful performance of the remaining six movements. It was not only vigorous and well-proportioned and was notable for, among other things, the insistence upon certain key words and phrases.
Soprano Agnes Zsigovics and bass Alexander Dobson did an especially beautiful job in the duet "Wann Kommst Du?" And their rendition of "Mein Freund Ist Mein" was similarly well-focused and musical. The concluding chorale, "Gloria Sei Dir Gesungen" was a solid and pleasing ending.”
BWV 147 "Herz un Mund und Tat und Leben"
“(The first piece Daniel Taylor sang was) the aria "Schame dich", which he delivered with his beautiful voice in the straightforward manner that we’ve been accustomed to. The other was a recitative. It’s hard to make a big impression with a recitative, but Taylor certainly did more than justice to this one.
Soprano Zsigovics's gorgeous rendition of the aria "Bereite dir, Jesu " was one of the evening’s highlights ..... the bass aria "Ich will von Jesu" was especially persuasive.Then, after the regular program, Taylor sang an encore that I didn't recognize. It was indescribably beautiful.
Essential to the overall success of both cantatas were the well-disciplined chorus and orchestra of period instruments.”
Richard Todd, Ottawa Citizen, Dec 22nd 2010 -
Music Review: Musica Angelica on the Road to South America
“It was wonderful to hear soprano Suzie LeBlanc and counter-tenor Daniel Taylor together in addition to their astonishing solo abilities..... LeBlanc and Taylor duly impressed with "Scherzano sul tuo volto" from Händel’s Rinaldo, and "Se il cor ti perde" from Tolomeo was a perfect vehicle for them to shine. The most dramatic singing of the night was "Cara sposa, amante cara" from Rinaldo; it had a truly grand quality to it, as did the duet from "Caro, Bella" from Giulio Cesare.
Gluck’s Ballo, and the beautiful aria "Che faro" from Euridice brought Taylor’s exquisite counter-tenor voice to life, and this realization was particularly nice.
The encore was perhaps the most beautiful music of the evening: Händel’s duet "I’o t’abbraccio" from Rodelinda. LeBlanc and Taylor created a gorgeous sound together, a final reminder of how beautiful the Baroque can be in the hands of masters, and an extraordinary ending to an extraordinary concert.”
September 29, 2010 By Theodore Bell -
Critical praise for Daniel and the TEM choir in concerts at the Festival of Music and Beyond.
- "Taylor has assembled a brilliant choir and conducts the singers with sensitivity and beautifully shaped lines."
Ottawa Citizen, August 19 - "If there's a better countertenor in the world than Daniel Taylor, he keeps himself well hidden."
...."the beauty of his sound and especially his phrasing are extraordinary."
Richard Todd, Ottawa Citizen, July 12, 2010 - "Daniel Taylor’s early-music choir holds audience spellbound"
"”That was celestial,“ said former federal cabinet minister Monique Begin July 11 at Knox Church, where she was among the music lovers who were standing and cheering the performance by the superb choir of the Theatre of Early Music at Julian Armour’s Music and Beyond classical music festival.....the choir performed with spine-tingling beauty of tone and blend, in music by Tallis. William Byrd, Palestrina and others. The choir capped the concert with a sublime performance of Allegri’s Miserere, which also featured a lyrical dance performance by Coleman, Lemieux et Compagnie. Taylor has assembled a brilliant chamber choir, and the singers never sounded hard or shrill, even in some killer high notes."
Steve Mazey, Ottawa Citizen Monday, July 12 2010
- "Taylor has assembled a brilliant choir and conducts the singers with sensitivity and beautifully shaped lines."
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Festival Montréal en lumière 2010.
“TEM with Dame Emma Kirkby and Daniel Taylor: The Voices that Come from the Sky”
“The countertenor with the ethereal voice joins the celebrated British early music expert Emma Kirkby in programs that invite the audience to explore purity and peace.... The concert hall is full to capacity. She arrives on the scene with her flowing blond hair and soft, beautiful smile like a picture from a baroque painting. Her voice is clear, supple and the words and music seem to be a very part of her being. Daniel Taylor offers his solos with a sense of interior sincerity and he is in top form.
The musicians accompany with a precision, informed understanding and style. ”
La Presse, Feb 19 & 21, 2010 -
Daniel Taylor and Emma Kirkby with the Theatre of Early Music - Feb 21st 2010
“ Ottawa Top 10 concerts to savour in 2010”
“Two stars combine their ethereal haunting voices with the Orchestra of the Theatre of Early Music...”
The Ottawa Citizen, January 2 and February 18, 2010 - BIS “Stabat Mater” CD:
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Choosing his ten personal favourites among the discs reviewed in Gramophone’s November issue, James Inverne,
the editor of the magazine, selected this BIS CD. In his own, brief comments to his choice, James Inverne wrote:
“There are at least half a dozen recordings of Vivaldi's Stabat mater that I wouldn’t want to be without but this profoundly beautiful version leaps straight into their ranks. The Theatre of Early Music band is small (just single strings and simple continuo) but its playing never feels underweight, and rhetorical qualities in the music are clear yet unforced. ...Taylor's intelligent and stylish singing belongs in a select class alongside a few of the finest and sweetest voices of its type. ...the well chosen programme is rounded off by Tilge, Höchster, meine Sünden (Bach's creative yet respectful adaptation of Pergolesi's Stabat mater, using the text of Psalm 51), in which Emma Kirkby's delicate singing elegantly blends with Taylor's.”
UK Gramophone Magazine: Editor's Choice, November 2009 - “A disc as lovely as this should not be overlooked. Vivaldi’s Stabat Mater has hardly lacked for fine recordings
over the years but here we have a performance of real distinction and allure. The Theatre of Early Music is a small band -
two violins, a viola, cello and bass, with lute and organ - but its tempo decisions and internal balancing are both exemplary.
Articulation is crisp - note the cleanly articulated cello line - and the timbral qualities of the string are auspicious.
Rhythms are buoyant, and the expressive qualities of the music are held in fine balance. To turn to specifics, the Quis est homo
is rendered with delicate refinement, a legato melsima of real eloquence. Daniel Taylor evinces no sense of forcing his counter tenor,
and no glorying in its very obvious qualities for the sake of it; some other counter tenors should take note. The tempo for the slow
Fac ut ardeat is judged to perfection, with its sense of motion ensuring that the textual meaning is perfectly conveyed.
Pergolesi’s compact Salve Regina again evinces strongly meditative qualities in this performance.
Here, in the Bach setting of the Pergolesi Stabat Mater, Taylor is joined by Emma Kirkby and their rapport is obvious,
the voices well blended, and as before the reflective sense of the chosen tempi conveys a great deal. It’s a very natural,
unforced performance with no extraneous gestures, vocal or instrumental, to distract. The depth and pathos are everywhere apparent.
... played with tactile excellence by the string players. ...this reflective disc brings impressive and sensitive qualities to bear,
and should on no account be overlooked. ”
Jonathan Woolf (musicweb-international.com) - “Emma Kirkby at her most serene is matched by Taylor as if they were two faces of a single musical entity.
With first-rate surround-sound recording and a warm ambience, this is a disc not to be missed.”
BBC Music Magazine, October 2009 *****
- “..with the gentle and sweet introduction of the sonata, director Daniel Taylor leads us with his singular
and wondrous technique - with his soft, warm and deeply moving voice - through the painful expression of
devotion found in the Vivaldi Stabat Mater and the remarkable Salve Regina. Emma Kirkby joins Daniel in
pure emotional harmony and the listener can only marvel at this degree of interpretation - recommended !”
Classic CD Germany - “ Were Emma Kirkby and Daniel Taylor singing straight Pergolesi
here, we might find their interpretation cool and lacking in edge, but with Bach’s more abstract text,
the purity of the voices and the effortless delivery seems perfect. Taylor’s performance of Vivaldi's
Stabat Mater is also as intimate as it gets.”
Elissa Poole, Globe and Mail, July 21st 2009 - “Daniel Taylor sings Vivaldi’s Stabat Mater most beautifully and tenderly.
All in all, this is one of those satisfying releases that come along occasionally, those with a bit of a twist that are unified around one theme. The preformances are lovely, which should be no surprise, given the names of the performers.”
Crawford - American record Guide Nov/Dec 2009 -
“The young Canadian countertenor Daniel Taylor combines a deliciously creamy voice with a keen dramatic sense,
and his reputation in this small but nevertheless star-oriented field has been growing steadily.
This beautifully recorded release from Sweden’s BIS label seems certain to add to that reputation. ”
On JS Bach’s transcription of Pergolesi’s Stabat Mater: “..the marvelous interplay between Kirkby's now sharp-edged voice and Taylor's supple instrument. ”
On Pergolesi’s Hymn, Salve Regina: “ ..... offers several fine examples of Taylor’s flair for catching hearers’ attention with his text readings - sample his way of entering with a striking vibrato-free tone in texts of supplication, and then broadening out into a warmer sound as the prayer gains strength.
The opening Stabat Mater, RV 621, of Vivaldi, preceded by a short instrumental sonata, is a marvelous example of the dark but lush colors associated with this text in the Baroque, and Taylor’s performances, not overwhelmingly powerful but operatic in their beauty, hang in the mind. Taylor's period-instrument Theatre of Early Music backs him quietly, with perfect sensitivity. A compelling program, in top-notch renderings. ”
Allmusic.com 5/5 Review by James Manheim
“ The mellow resonance of the recording venues makes them (The Theatre of Early Music) sound a larger group, yet the inner parts are crystal clear and well-articulated, giving both clarity and persuasive intimacy to proceedings.”
On Vivaldi's Stabat Mater: “Daniel Taylor's breath control is exemplary, often effortlessly taking only a single breath over astonishingly long legato lines. His approach to the piece is gentle, with pure-toned pianissimos and floating cantilenas exuding a kind of exquisite despondence. Eloquent support comes from the TEM players, who exploit Vivaldi’s simple yet inventive string textures, underpinned with a solid, rich bass which grounds the whole reading.”
On Pergolesi’s Hymn, Salve Regina: “....uses many suspended dissonances to express the Virgin’s pangs in its often tearful progress. Daniel Taylor fully involves himself in its dramatic, colourful and operatic sections, as do TEM, making the most of the strenuous rhythms of ‘Ad te Clamavi’ and the sweet balm of the penultimate ‘Et Jesu Benedictus’”
On JS Bach’s transcription of Pergolesi’s Stabat Mater: “The result here is simply glowing, with the two vocalists intertwining and sparking off one another. Because of the different words, Bach's Psalm 51 is rich in a variety of emotions from tearful poignancy to joyful celebration, so Kirkby and Taylor are able to exploit a bewitching spectrum of tonal colours. Taylor’s direction of the Theatre of Early Music players gives full measure to Bach’s dancing tempos and together they and the vocalists lay bare all the Psalm's range of human emotions.
This is an inspired and unusual compilation of Baroque sacred music, truthfully recorded with an intimacy which allows the singers to communicate directly with the listener. Selfless and inspiring music-making, despite its often poignant tone. ”
Review by John Miller and SA-CD.net, August 15, 2009 - Performance:5/5 Sonics 5/5
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Choosing his ten personal favourites among the discs reviewed in Gramophone’s November issue, James Inverne,
the editor of the magazine, selected this BIS CD. In his own, brief comments to his choice, James Inverne wrote:
- Purcell's Dido and Aeneas performed to perfection
“...counter-tenor Taylor, who sang the deliciously evil role of the Sorceress. Taylor even let his hair, normally worn in a ponytail, down to enhance the effect. When he sang in trio with the two witches, Meara Conway and Alexandra Hill, the results were most gratifying.
...Aeneas has less stage time, but bass Alexander Dobson made the most of what there was. His gloriously dark and powerful voice was one of the highlights of the production. When you consider that he is a member of the Theatre of Early Music Chorus, you begin to understand why said chorus is so good.
The Theatre’s little orchestra played with consummate skill and understanding, making a significant contribution. The opera was preceded by a short concert of early music featuring vocal and instrumental works ........the highlight of these was O Nata Lux by Thomas Tallis, ..... the Theatre Choir sang it beautifully.”
Richard Todd, The Ottawa Citizen, May 18, 2009 - Reviews of Daniel Taylor - The Voice of Bach
- “Taylor is one of the few countertenors of the world, raising his voice up to the mezzo-soprano range.
The Bach selections on this disc are given an infinite boost with Taylor’s full, resonant and unique voice.”
Democrat and Chronicle
“Daniel Taylor’s direction of the Theatre of Early Music players gives full measure to Bach’s dancing tempos and together they and the vocalists lay bare all the Psalm’s range of human emotions.”
SA-CD.net
“A regular Baroque-performance standout is the sensitive artistry and burnished voice of Canadian countertenor Daniel Taylor. Here, he returns with a selection of airs, duets, choral and instrumental pieces by J.S. Bach, joined by lyric soprano Agnes Zsigovics, and choir and instrumentalists of Montreal-based Theatre of Early Music.”
Toronto Star
“This is a beautifully produced and skilfully executed programme which confirms that Daniel Taylor is a Bach interpreter of discernment and excellent taste.”
John Quinn, Classics on Line
“The expansiveness and warmth of Taylor’s voice is marvellous to hear. Accompanied by an almost breathlessly sensitive and expert group of players, his seemingly effortless range and bottomless palette shine while remaining a part of the integral whole. It is not just Taylor who comes to the fore though; included are instrumental interludes, such as three delightful introductory sinfonia from different cantatas, as well as a chorale and the lushly accompanied Motet No. 4, O Jesu Christ, mein’s Lebens Licht. Arias from the Passions and the Weihnachtsoratorium are included, and soprano Agnes Zsigovics’ sprightly coloration is a welcome addition as she joins for a pair of duets from the cantatas. These performers certainly know their business, a fact that is abundantly clear on this highly polished release.”
Lorin Wilkerson ( http://northwestreverb.blogspot.com/ )
“Those of us who first heard Daniel Taylor in Jonathan Miller’s staging of Handel’s Rodelinda immediately recognized that we were hearing a significant countertenor with a great future, but we didn’t realize that this inspirational singer would develop into a fine conductor. On this disc, he sings and directs a delicious selection of arias, motets and sinfonia from Bach’s Cantatas and Passions using the sprightly forces of the Choir and Orchestra he founded.”
The Observer, UK - Jan. 2009
“...Taylor is a talent to watch...”
The Evening Standard (Norman Lebrecht)
“He has a pure, sweet and surprisingly sopranoish voice of ethereal beauty, particularly well-suited to Bach with its clean flexibility and spotless tuning. He shapes the famous “Erbarme dich” so it flows like tears and his “Es is vollbracht” dark and haunting.”
CLASSIC FM (Emma Baker)
“Taylor builds a program around select vocal pieces and Sinfonias to create an all-alto featuring Bach cantata chimera. You can tell that Taylor is not just a countertenor but also the leader of the Theatre of Early Music (and its choir), which performs absolutely splendidly.
...., the extraordinary purity of the Canadian’s voice leaves little rational reason to prefer a female interpreter.
With its diversity of vocal, choral, and orchestral pieces, flawless singing, a most pleasant voice, and first-rate instrumental backup, this disc can be recommended "for what it is".”
Ionarts.blogspot.com
“This is the debut disc of Canadian countertenor Daniel Taylor for Sony/BMG, where he has recently signed an exclusive recording contract. Only in his late 30s, Taylor has already amassed a lifetime of achievements that is the envy of singers decades his senior. One of the most sought after countertenors in the world, Taylor has performed at a very high level in some of the most prestigious venues and collaborated with the greatest musicians.....This recording contract with a major label bears testament to his exceptional gift as an artist and communicator.
... he is the most prolific Canadian classical recording artist of our generation. Now at full artistic maturity, his work here is stunning. His sound is pure, smooth, ethereal, and evocative, with excellent flexibility and perfectly placed - an ideal voice in Bach.
He is well supported by his own Theatre of Early Music, an exemplary period-instrument group he founded. With everything so delectable, it’s hard to choose a favorite, but I have a soft spot for “Erbarme Dich“ from the St.Matthew Passion.... I guarantee you that this is a disc you’ll want to savor again and again.”
JKS, La Scena Musicale October 2008
“What sets this recording apart right away is the transparency and intimacy of texture.......Taylor’s voice doesn’t dominate the texture...... it feels much more integrated into the texture of the ensemble as a whole.
The Voice of Bach” feels like a celebration of Bach's instrumental and choral writing as much as it is a celebration of Taylor's countertenor voice....the TEM Choir.....a vocal ensemble of the highest order - their sense of authenticity isn’t just an academic exercise, but a journey into details of text, voice-leading and harmony that one can actually feel....Taylor also sings two meticulously prepared duets with Agnes Zsigovics...”
Posted by Chris Foley, Ottawa Citizen, Sunday, October 05, 2008
“Daniel Taylor’s moving exploration transcends the more generic approach.... Taylor’s more original and personal journey. ”
“ Where Daniel Taylor’s “The Voice of Bach” resonates more strongly is in the concept of his programme, the rhetorical range and the collegial manner in which his Theatre of Early Music binds around him: fruity sinfonias, motets and arias conspire to form a consistent mood of supplication. If the opening juxtaposition of the Sinfonia from BWV4 and “Erbarme Dich” seems a touch eccentric, the latter is wonderfully embedded in Bachian contours, dynamic recessing and careful placement: an inward journey of contemplation ...The duet from BWV78 is a rare prosaic moment which leads to a profound and delectable reading of the fine funeral motet “Oh Jesu Christ meines Lebens Licht” and “Es ist vollbracht”, which sits at the solar plexus of the programme and is thoughtfully realised with a poignant and sensitively textured continuo.”
Jonathan Freeman-Attwood, Gramophone Magazine Nov 2008
- “Taylor is one of the few countertenors of the world, raising his voice up to the mezzo-soprano range.
The Bach selections on this disc are given an infinite boost with Taylor’s full, resonant and unique voice.”
- A baroque star on Beyoncé's label
The Ottawa Citizen article covers "Ottawa-raised countertenor Daniel Taylor speaks of his Theatre of Early Music choir":
“ It’s an almost indescribable feeling, and I find it amazingly satisfying. I find it remarkable that I can have 20 choristers all wanting to be there to make beautiful music. I feel like a bit of a magician. I wave my hands and these sounds appear. It’s an extension of what I’d like to say and what I feel the music is saying, and I feel we’re all calling out together. There’s a sense of awe and wonder in discovering this music together.”
Steven Mazey, The Ottawa Citizen
Published: Thursday, November 20, 2008 - The Choir Of The Theatre Of Early Music - A Journey Into The Heavens
“The Path to Paradise” - Daniel Tayor conducts the Choir of the Theatre of Early Music
Quebec City, October 23rd, 2008
“Listening to the 20 pure angelic voices had already moved many to tears. The mix of light but exact timbres conserves a texture that is lithe yet at times sumptuous. The text is sustained and respects the music of the language. Clear intonation and balance were in evidence: unity and cohesion particularly strong. Daniel Taylor directs as he sings, this is to say with an ease and economy of gestures. The result is a most moving ensemble that could not be more supple, more pleasing. Every moment spoke to the audience and answered perfectly, providing it seemed what the audience was searching for. At a concert entitled ‘The Path to Paradise’, apparently, many had found their path.”
Richard Boisvert
Le Soleil October 24th 2008 - The 2008 Ottawa Chamber Festival - “soul-soothing performance....superb music-making.”
“.. it was the superb performance by Ottawa countertenor Daniel Taylor and the choir of his Theatre of Early Music ........that will rank as another of my festival highlights this year. After a busy and tiring two weeks, I couldn’t have asked for a more soul-soothing performance.....
Taylor has assembled a group of superb singers, who blend and shape their sounds with precision under his direction.
In Allegri’s Miserere, five dancers from Coleman Lemieux and Compagnie performed a quietly expressive piece by choreographer David Earle. The performance included a superb vocal quartet ..... the sound was angelic, even in the highest and most difficult passages.
There were two standing ovations.....this was superb music-making, and it wasn’t surprising to see the audience on its feet.”
Ottawa Citizen Blog by Steven Mazey, August 12th 2008 -
Toronto Summer Music Festival - July 26th - “yet another shining evening”
“Soprano Suzie LeBlanc, countertenor Daniel Taylor and the instrumentalists of Taylor’s Theatre of Early Music took the stage at the MacMillan Theatre and enchanted their audience..... Both singers were in top form. Both have technique to burn, but they use it entirely to serve the music they are singing. Both are impeccable musicians, and their musicianship encompasses not only the drama inherent in their operatic material but also the blessed alleviation of quietness when it suits.
Taylor's performance of the ravishing Cara sposa from Rinaldo was profoundly lyrical and moving, and his rapt pianissimo at the return of the main melody imprinted itself on our susceptibilities as nothing else could have done.
The team ended the evening, with all six instrumentalists in a deft and diaphanous reading of the Duet Scherzano from Rinaldo, blending their nuances as though they came from a single mind, meeting both the music's rhythmic imperatives and its need for the most refined dynamic flexibility.........The house erupted. What a concert. ”
Toronto Globe and Mail
Ken Winters, July 28, 2008 - TEM with Daniel Taylor and James Bowman - Analekta CD, “Here Let My Life”
“Wistful expression and visceral energy are brought together in this collection... performed by one of Canada's leading early music ensembles. Taylor And Bowman .....complement each other as perfectly as coffee and cream. Bowman’s darker voice, now burnished with autumnal tones, is well suited to the melancoly sound-world of his solos, while Taylor's light, silvery countertenor is perfect for the intimacy of ‘Music for a While’ or the lyricism of ‘If Music be the Food of Love’”
Kate Bolton BBC Music Magazine March 2008 - Daniel's First Analekta CD with James Bowman, “Here Let My Life”
“Two of today’s finest countertenors join for a lovely and well-thought-out program of solo and duet music by Henry Purcell. ....the real interest here is the sensitive and ear-friendly singing, especially in Daniel Taylor and James Bowman’s two duets..... Taylor’s ‘Music for a While’ is a properly soulful pleasure...
David Vernier, classicstoday.com November 2007 - 14th Ottawa International Chamber Music Festival, Ottawa, Canada, July 22 - August 4, 2007
- “The dazzling (early music) program is due in large part to the powers of persuasion of Ottawa's own gift to
countertenordom, Daniel Taylor.”
Ottawa Citizen, Saturday, July 28, 2007 - “Daniel Taylor and his Theatre of Early Music presented a five-o'clock program of arias from Handel oratorios yesterday in Christ Church Cathedral ..... A truly affecting rendition.”
Richard Todd, The Ottawa Citizen, Saturday, August 04, 2007 - “Ich liege und schlafe (Nicolaus Bruhns 1665-1697) was next on the program. It featured the fifteen-voice Choir of the Theatre of Early Music, which turns out to be a disciplined and wonderfully musical ensemble.
Taylor conducted the enterprise.....it was a fine and moving performance.
Taylor himself was on next with a terrific rendition of the Rage aria from Handel's Julius Caesar (Domero la tua). He was in good voice for the occasion. He is one of the few countertenors around who can sound consistently masculine when the text requires.”
Richard Todd, The Ottawa Citizen, Sunday, August 05, 2007
- “The dazzling (early music) program is due in large part to the powers of persuasion of Ottawa's own gift to
countertenordom, Daniel Taylor.”
- The Theatre of Early Music with James Bowman
- “Taylor’s tone is ravishing - ineffably dulcet but focused, and wonderfully honest, undeniably true....with James Bowman, the legendary countertenor, in magical form”
Opus Magazine - “a blast of creativity and virtuosic music-making”
Toronto Star - “James Bowman with his wonderful tone that still glows...Taylor’s voice is golden, Bowman’s is a rich burnt sienna. Bowman and Taylor were perfectly matched.”
Toronto Star - “Taylor and Bowman display breathtaking agility, ravishing purity and heightened expressivity.”
Wholenote
- “Taylor’s tone is ravishing - ineffably dulcet but focused, and wonderfully honest, undeniably true....with James Bowman, the legendary countertenor, in magical form”
- Daniel made his sold-out recital debut in Barcelona as a guest of the Caixa Foundation with guest TEM musician lutist Sylvain Bergeron:
“This was a heart-breaking, profound journey through the 16th Century... we hope to see more, much more of this young man.”
Barcelona National - "The Theatre of Early Music really gets to the heart of Bach's style...Daniel Taylor shows his flexibility by directing and performing...the Theatre of Early Music will give rare pleasure to their listeners."
Opera Canada - "The Theatre of Early Music with the voice of Daniel Taylor gives us the remarkable impression that we are listening to the intimate confessions of a true believer"
Repertoire Magazine - CD review - Couperin, Leçons de ténèbres
"a thoughtful and profound reading that bows to no other in vocal beauty "
Gramophone UK June 2005 - The Theatre of Early Music with Suzie Leblanc - Love Duets
"The crowd was delirious in their acclaim...Taylor and Leblanc bring joy to their audience with their fragility and honesty...Taylor also impresses with his simplicity and modesty."
Le Soleil - The Theatre of Early Music with Emma Kirkby
"In the world of baroque music no two individuals more deserve the label 'superstar' than countertenor Daniel Taylor and the great English soprano Emma Kirkby. Kirkby and Taylor shared the stage... it was an unforgettable experience. Taylor, with his powerful, perfectly balanced voice, thrilled the house with singing that was deeply expressive. As for Kirkby, well, they don't call her the 'Divine Emma' for nothing. One could only wonder at the beauty of her singing....Perhaps the most wonderful of all were the duets in which the two musicians worked in perfect harmony."
Ottawa Citizen August 2003 - The Theatre of Early Music with Nancy Argenta
“Evening of aesthetic bliss - Canadian countertenor Daniel Taylor and soprano Nancy Argenta...in a concert spanning the late 17th to early 18th centuries with music stripped of artifice yet intelligently and lovingly layered and hued. Argenta and Taylor were outstanding. The soprano dazzled with her large, crystalline voice and easy manner. Taylor's falsetto is a wonder of nature, which he uses with the skill of a brain surgeon.”
Toronto Star - The Theatre of Early Music - recording of Bach Early Cantatas 131, 161
“The singing and playing [on this disc] are stylish and technically accomplished...This is particularly true...[of the] warm responses of Stephen Varcoe, Suzie LeBlanc and Daniel Taylor, who caress the contours of Bach’s often extended phrases with affective fervour.”
BBC Music Magazine - TEM CD - Lamento: German Sacred Concert:
“..brought out the best Baroque composers had to offer. He has one of the least artificial sounding counter-tenor voices I can think of. His dulcet sound and eloquent expressivity is perfectly matched to Buxtehude’s gentle Klag-lied and to Shutz’s odd, moving Erbarm dich, with it’s stuttering.”
Mark Miller, The Globe and Mail, Thursday, April 4, 2002 - “Clarity combined with richness is his special trademark. He his rising in the operatic firmament as fast as the speed of sound. In the category of thirty something counter-tenors, none shines brighter than Taylor. With Taylor, risk is his middle name. If you’ve seen one of his concert performances, you’ll understand what the critics say when referring to his mesmerizing stage power.”
John Fraser National Post, Friday, march 8, 2002 - “Canadian Daniel Taylor ranks with Andreas Scholl and David Daniels among the foremost countertenors of his generation.”
Whole Note, Toronto’s Music - Classical and News, March 7, 2002 - "Taylor's interpretation [of J.C. Bach's lament Ach, dass ich Wassers gnug
hatte] is profoundly moving...beauty of his voice stops you in your tracks... his dulcet sound and eloquent expressivity is perfectly matched to Buxtehude's gentle Klag-Leid."
Gramophone UK 2002
2009-2006 Top
2005-2000 Top
Awards for Daniel Taylor with TEM Top
Sony/BMG Masterworks RCA Red Seal label |
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Daniel Taylor - The Voice of Bach
Juno Nomination | |
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Love Bade Me Welcome
Goldberg 5 stars
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Leçons de Ténèbres
Goldberg 5 stars
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ATMA label |
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Scarlatti
Opus nomination |
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Bach Actus tragicus
Opus nomination |
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Bach Cantatas 131
Goldberg 5 stars
Opus nomination Repertoire R Gramophone Choice “The singing and playing [on this disc] are stylish and technically accomplished... This is particularly true...[of the] warm responses of Stephen Varcoe, Suzie LeBlanc and Daniel Taylor, who caress the contours of Bach's often extended phrases with affective fervour.” BBC Music Magazine
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Lamento
Opus Prize |
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