Daniel Taylor and The Theatre of Early Music
Reviews and Awards
Recent Press Cuttings: Top
- The Grand Philharmonic Chamber Singers, Advent In Leipzig
“ A cameo appearance from superstar countertenor Daniel Taylor, in combination with a fabulous flute duo,
produced superb expression with the whimsical take on sending the rich empty away, though leaving
the audience wishing for more from this wonderful talent.”
Stephen Preece, Kitchener-Waterloo Record, November 22, 2009
- Der "Orpheus Britannicus" - Innsbruck, August 20 2009
“A fascinating program bringing us on a journey to the world of the "Orpheus Britannicus"
provided an evening with the two famous countertenors Michael Chance and Daniel Taylor at Schloss Ambras.
It was a sensational evening in which two of the stars of their trade merged their talents on the podium
of the Spanish Hall. Particularly attractive was the contrast of the two voices: the great Chance blended
with Taylor’s vocal youthful freshness and luminosity - one could only wonder at their admirable
flexibility of tone, intensity of expression and representational presence.
Their voices blended indistinguishably in the duets by Purcell and his teacher John Blow,
whether in their outstanding coloratura or in the be it chains of suspended phrases .
In the solo pieces Chance was outstanding with Purcell”s complaint of a moving prisoner,
Taylor, with his famous interpretation of "Music for a while" impressed. John Blow's Ode
on the death to his pupil Henry Purcell offered a meaningful farewell.”
Von Gerhard Kramer, Innsbrucker Festwochen
- BIS “Stabat Mater” CD:
- “ 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
- Review of Messiah CD with Frieder Bernius from classicstoday.com :
“Thankfully the four ideally chosen soloists respect period-performance style with tasteful, durable,
judiciously placed ornaments that justly enhance the expressive character of the airs ... you would be hard pressed to find
a more beautifully rendered “He was despised” aria than Daniel Taylor’s.... Taylor and Bernius bring it an
engaging immediacy that it rarely achieves.”
- A glorious “Messiah” provides rousing finale
“Conductor Helmuth Rilling and the Oregon Bach Festival Orchestra and Chorus concluded the 40th annual Oregon Bach Festival at the
Hult Center on Sunday with a glorious performance of G.F. Handel’s Messiah........
Rilling showed ceaseless energy. His style was electric as he conducted an orchestra and full chorus from memory.........
Countertenor Daniel Taylor gave a fiery performance. His tone was resonant, and his shading of notes impressive,
particularly during ‘But who may abide the day of His coming?’ and ‘He was despised and rejected.’”
By Tyler Kinnear For The Register-Guard, Tuesday, Jul 14, 2009
- World Premiere Recording of Grand-Messe by Gilles Vigneault:
“... there is wonderfully ebullient and utterly lyrical music here, one of the nicest and most pleasant
sounding masses of its type that I have heard. The work just oozes lyricism, and comforts in the way that
the Faure Requiem does. The sound, soloists, chorus, and orchestra are all superb. - the music is terrific.”
Steven Ritter, Audiophile Audition, May 23 2009
- 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
- Daniel is well received in Jonathan Miller's Production of the St. Matthew Passion
- “
Countertenor Daniel Taylor showed a confidence and purity of voice that was hard to beat. “
Harry Rolnick, Concertonet.com
New York, April 18th 2009
“
Fine performances abound, especially tenor Rufus Müller as the Evangelist (narrator) and the astoundingly
soulful countertenor Daniel Taylor...“
Nytheatre.com review
Russell M. Kaplan, New York, April 18, 2009
-
Philharmonic delivers St. Matthew Passion grand in scale
“
As the ever-present storyteller, Evangelist Rufus Muller was nothing short of superlative.... The other standout soloist was counter-tenor Daniel
Taylor. Bringing musical resonance to every note, his ability to transcend technique and unveil the purest emotional essence was an ideal fit.
Some of the most touching and tender expressions were given to his exquisite care (“If the tears on my cheeks can accomplish nothing, then take my
heart!”). Now an international sensation (exclusive recording contract with Sony Classical/BMG Masterworks), Taylor is one of many artists
whom Dyck spotted early in their career, and he has developed a special relationship with the Grand Philharmonic over the years.”
Stephen Preece, For The Record, Kitchener, March 11 2009
-
Daniel Taylor at the Wigmore Hall March 27th 2009
“The London Handel Festival decamped to the Wigmore Hall on Friday for a recital entitled
‘Famous Castrati Arias for Sensino and his Rivals’, given by counter-tenor Daniel Taylor and the London Handel
Orchestra directed by Adrian Butterfield.
Daniel Taylor sang two arias from Rodelinda.....Taylor has an attractive bright voice .......a naturally dramatic presence coupled with a lively
and vivid way with the music. He sang from memory and was instantly communicative whilst still being musical. Despite the drama of his performance,
there was still a fine sense of line and good detail.
.........a brilliant performance of “Cara Sposa” from Rinaldo. The printed programme concluded with a pair of Tolomeo's arias from Giulio Cesare.
Taylor's Tolomeo was certainly not effete, but nasty and vicious. Both arias were vividly done and one could not have looked for more drama
coupled with musicianship.
Taylor spoke between each group of arias, introducing them and relating anecdotes from his previous performances.
He has a natural and winning manner and his spoken introductions helped make the concert something special.
As an encore he did an aria from The Choice of Hercules, again joined by Rachel Brown's recorder.”
Posted by Robert Hugill, London UK
-
Daniel Taylor with Calgary Philharmonic Orchestra
“Pergolesi’s Stabat Mater...has rarely received a finer performance than was heard at this concert....
The audience listened in rapt attention to the performance, each movement better than the last, and erupted in a storm of applause at the conclusion.
As in the Pergolesi, Taylor contributed some of the most compelling, beautiful singing of the evening,
notably in the emotionally intense “Qui sedes” [Vivaldi Gloria] near the end of the work.
In all, this was a performance of the highest standards, one to be long remembered.”
Kenneth DeLong, The Calgary Herald, February 17, 2009
2008-2006 Top
- Reviews of Daniel Taylor - The Voice of Bach
- “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)
“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
- A baroque star on Beyoncé's label
The Ottawa Citizen article covers "Ottawa-raised countertenor Daniel Taylor on his big deal with Sony":
“ 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
- Daniel Taylor receives “stunning” reviews in Wroclaw Gazeta, Poland:
- A Master's Recital
“The Oratorium Marianum was certainly not large enough for all these people who wanted to hear on Tuesday the
Wroclaw Baroque Orchestra and the excellent countertenor Daniel Taylor. In the program there were offered a selection of
Handel arias from the operas. The not so successful overture played by the orchestra was quickly forgotten when the phenomenal
Daniel Taylor, countertenor, appeared - this is the artist we had already seen and
heard on Saturday in Ostrow Tumski in the open air concert for 8,000!
With him the orchestra was revived! A man of great knowledge (aside from music, his studies included philosophy, literature, and religious studies)
Daniel Taylor has the ability to charm those people who would otherwise declare their dislike to the so called “serious classical” music;
and to his concerts are streaming the masses.
When he is singing we are feeling with him every word of the text. The voice of this countertenor is able to break down all barriers.
Taylor's charisma, humour and the talent of dramatic art had a profound effect on the listeners.
The public was extraordinarily enthusiastic and called for several encores. The thoughtful Daniel Taylor acknowledged them with pleasure and,
looking discreetly at a piece of paper, he gave thanks in Polish, to those in audience, for coming to this memorable concert.
”.
Wroclaw gazeta from Sept.11th,'08 - Translation from the the culture-page
Wratislavia Cantans Festival - Open Air Concert
“A stunning performer...what a powerful, seductive, moving and exciting
voice... a master of his repertoire...no wonder an audience of more
than 8,000 were on their feet shouting “Bravo”.
Wroclaw gazeta from 6 Septembre 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
- Atma CD - “Best of Taylor”
“... excellent - there is never any doubt about the quality of Taylor's singing....
The instrumental accompaniment is also of excellent quality....most of them are accompanied by Taylor's own Theatre of Early Music,”
Richard Todd, The Ottawa Citizen
Published: Saturday, August 02, 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
- St Matthew's Passion at the 56th Tilford festival, Surrey, UK
“Countertenor Daniel Taylor followed his triumphant performance of the previous evening
by singing the contralto arias with great sensitivity and beauty, especially ‘Have mercy, Lord,
on me’ with exquisite violin accompaniment from Adrian Butterfield. ”
Rosemary Wisbey, June 2008
- 101st Bethlehem Bach Festival, May 2008
- “Six vocal soloists participated in the concerts: sopranos Kendra Colton and Rosa Lamoreaux,
countertenor Daniel Taylor, tenor Benjamin Butterfield, baritone William Sharp and
bass-baritone Christòpheren Nomura. In whatever combination they appeared they were a particularly well-matched ensemble.
One mention: Taylor's not-to-be-forgotten rendition of the Agnus Dei at the end of the Mass.”
Philip A. Metzger, Special to The Morning Call, May 8th 2008
“Countertenor Daniel Taylor...every phrase shimmered with vitality and comprehension. He's one reason to make the trip.”
David Patrick Stearns, Philadelphia Inquirer, May 7th 2008
- Purcell: Come Ye Sons of Arts; Dido and Aeneas
Gabrieli Consort & Players/Paul McCreesh
Wigmore Hall, London, April 29th 2008
- “.... Daniel Taylor gave a dazzling performance as the Sorceress,
also providing visual delights for the audience members who were greatly
amused by the drama and comedy he brought to his portrayal,
keeping it just within the lines of propriety. Each time he sang
in this role, he unleashed his wayward, curly locks, and adapted a
confidently wicked attitude that the audience relished.
In comparison to his relatively restrained performance in the
first half of the concert, he came alive as the Sorceress and his
voice triumphantly boomed around the concert hall.
Taylor made the witch's scenes dazzling highlights of the performance as a whole.” ....more..
Claudine Nightingale
“Countertenor Daniel Taylor, a mischievous mix of diva and zombie as the Sorceress”
Erica Jeal, The Guardian Tuesday, May 6, 2008
- The Splendour of Bach with Ottawa Bach Choir - Friday April 18th 2008
“The large-calibre soloists included soprano Agnes Zsigovics, countertenor Daniel Taylor,tenor Benjamin Butterfield and bass Daniel Lichti.
The Motet, BWV 227, Jesu, meine freude, came together beautifully. The choral singing was particularly strong and expressive.
...the trio, So aber Christusin euch ist, for alto, tenor and bass, was outstanding.
The duet (from BWV 78, Jesu, der du meine Seele)
was exquisitely sung by Zsigovics, and Taylor sang the duet to exquisite perfection”.
Richard Todd, The Ottawa Citizen
Sunday, April 20, 2008
- Tafelmusik Baroque Orchestra with Daniel Taylor and Christine Brandes - April 2008
“So think of this week's blend of fabulous performers with the creative genius of Baroque-era composer George Frideric Handel (1685-1759) as being the finest gold.
Both Brandes and Taylor were not only in magnificent vocal form last night at Trinity-St. Paul's Centre, but also shaped the musical lines and tailored the delivery to the shifting moods with tremendous care and a dose of stagecraft.
”
Toronto Star April 11 2008
- Three odes for Saint Cecilia with the Gabrieli Consort & Players, London Feb 21st 2008
“The playing was exemplary, the singing extraordinary in its precision ..
. A life-enhancing evening, every single second of it”
The Guardian
- Dietrich Buxtehude - Vocal Works Volume 2 - Amsterdam Baroque Orchestra/Ton Koopman
“Jubilate Domino" is a lightly-scored chamber piece, written for just alto voice,
viola da gamba and continuo. The alto part is sung by counter-tenor Daniel Taylor,
making a welcome single appearance on the disc.”
Robert Hugill
- Daniel with 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
- SAUL by George Frideric Handel - Hänssler Classic 98280
“A glorious David”
“No recording of Saul has it all, but Helmuth Rilling has a trump card in Daniel Taylor, whose honey-toned David is easily the best on disc.
Each of the Canadian countertenor's lines is eloquently thought through and beautifully sung with the perfect sense of dramatic character:
"O King, your favours with delight" is fittingly modest, and the assuaging words of "O Lord whose mercies numberless"
are sung with peerless vocal beauty and remarkably sensitive ornaments.”
Gramophone review by David Vickers Dec 2008
- Bach's Christmas Oratorio
“The solo alto items were given to Daniel Taylor, one of the finest countertenors anywhere.
Ottawa audiences were familiar with his work and he did not disappoint.”
Ottawa Citizen Friday December 14th, 2007
- 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
- 100th Bethlehem Bach Festival, May 4 - May 12 2007
“There was some notable solo singing, especially the expressive, silvery alto of Daniel Taylor...”
Barrymore Laurence Scherer, Wall Street Journal May 9, 2007
- The Bach Cantata Pilgrimage - SDG 128 Volume 22
“..The singing of Daniel Taylor and James Gilchrist is full of interest.....
Daniel Taylor acquits himself very well in the fine aria, ‘Hochgelobter Gottessohn’
and the player of the oboe da caccia obbligato also excels......The duet recitativo
is vividly delivered by the two soloists and then they combine in a superb aria,
‘Wir danken und preisen dein brünstiges Lieben’. Taylor and Gilchrist sing this
most delightfully; it’s a winning performance. ”
John Quinn April 2007
- On “The Shadow”, a new opera by librettist Alex Poch-Goldin and composer Omar Daniel
“....the real treat was watching Taylor, an internationally renowned countertenor ......
An intelligent singing actor, he played the mysterious Shadow - who often appeared in that silhouette form, behind a backlit white curtain,
though we could certainly see the twinkle in his eye when he was onstage - using both his countertenor range and a deeper tenor tone,
playing with the two to give the Shadow a dual nature.... ”
Mar 30, 2007 by Jon Kaplan www.nowtoronto.com
- On Carus B minor Mass (Bernius)
“Daniel Taylor's Agnus Dei is delicately controlled with just the right amount of gravitas and his singing offers a real partnership with the strings.”
Nicholas Anderson, BBC Radio3, March 3, 2007
“Daniel Taylor sings ‘Qui Sedes’ with a fine sense of line and here the lovely oboe solo is a real partner, creating a proper duet-like feel. ”
Robert Hugill, Musicweb International
- “While Kirkby has a pure and simple delivery, matching timbre with the instruments, Taylor is more finely buffed, with notes so rounded and finished, they seem to be wrapped in the finest veil of silk. Put these together and you get a treat that won't likely be heard again in Winnipeg for quite some time.”
Gwenda Shaw, Manitoba Chamber Orchestra Concert Review, Westminster United Church, Winnipeg Jan. 17, 2007
- “Tous étaient unanimes devant la pureté de voix et la prestation impeccable du contre-ténor,
Daniel Taylor, lors du dernier concert de l’Orchestre symphonique de Laval, dirigé pour l’occasion
par son chef attitré, Alain Trudel, le 19 décembre à la Salle André-Mathieu.
En première partie, la soirée intitulée Farinelli à Londres a laissé place à de brillantes
interprétations d’oratorios de Haendel par M. Taylor, livrées entre quelques mouvements de la Water
music du compositeur allemand.”
Courrier de Laval, January 19, 2007
- “Daniel Taylor not only is one of the world’s top countertenors .... but simply is one of the world’s top singers, period.”
David Vernier, Classic-today.com 2006
- “A revelatory ‘Messiah’ from Handel and Haydn Society”
“Countertenor Daniel Taylor’s singing was clear and expressive, and he underlined ‘If God be for us’ with beautiful, soft singing and a final ornament that set a seal on the whole piece.”
David Perkins, Boston Globe Correspondent December 5, 2006
- “Daniel Taylor was this evening’s star, and sang magnificently. Countertenor is often a difficult voice to accept: a male singer in the highest registers. But Taylor sang with conviction and distinction.”
Keith Powers, Boston Herald, December 2, 2006
- "Triumph of burning passion - through Daniel Taylor's passion, we can enjoy our music. There can be no more apt description of the exquisite world created by the Ottawa-born, the Canadian countertenor 'idol' of the world's early music scene"
Toronto Star
- 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
- St. Matthew Passion at Brooklyn Academy of Music
“Canadian countertenor Daniel Taylor was the big name in the cast. Dressed in street clothes and gesturing to his fellow musicians brought his tearful reflections of his savior’s suffering to a heightened intensity.”
Gary Freeman, Goldberg-early-music portal, August 24, 2006
- “King of the Canadian countertenors.”
Toronto Star, Canada, March 2006
2005-2000 Top
- “...he is developing into one of the important specialists of his generation in Baroque vocal music.”
Toronto Star, Toronto, CA 2005
- “The visionary eloquence of the brilliant countertenor Daniel Taylor...”
The Times, UK, December 2005
- Canadian Opera Company production of Handel’s Rodelinda
“Un Zeffiro....the most beautiful and stylish singing of the evening.”
Opera News, October 2005
- “Taylor was universally bravoed. ”
The Times, September 2005
- “Daniel Taylor sang superbly, his vertiginous decorations a tour de force that made technique serve the drama... an exceptional countertenor.”
The Independent, UK, September 2005
- “Daniel Taylor, an exemplary countertenor... a true display of soulfulness.”
Sunday Telegraph, UK, September 2005
- “Singing of utter sweetness from Canadian countertenor Daniel Taylor as Orfeo.”
The Independent on Sunday, September 2005
- “Taylor’s exquisitely decorated ‘Che faro’ is the highpoint of the evening.”
The Scotland Herald, September 2005
- “Taylor sings beautifully... he is part angel, part man.”
The Guardian, September 2005
- “Daniel Taylor’s performance was sincere and convincing. ”
The Edinburgh Evening News, September 2005
- “sung here with a wonderful sensitive and full tone by Daniel Taylor.”
The Saturday Telegraph, UK, September 2005
- “This Country’s hottest international ticket on the countertenor scene. ”
Globe and Mail, Canada, September 2005
- “Without doubt, this superlatively talented young man has a unique voice that he uses in a way that displays a rare ability to communicate with the audience.”
The Observer, UK, September 2005
- 2005 BBC Proms, Royal Albert Hall, London
- "There were more duets in the Akademie für Alte Musik Berlin's late-night Prom,
with soprano Maria Cristina Kiehr and counter-tenor Daniel Taylor singing numbers from Handel's Rinaldo and Theodora.
A duet from Rinaldo had a fizzing, infectious joy, but it was Taylor's solo aria that was most affecting,
as his voice emerged from silence into a keening lament for lost love."
Tom Service, The Guardian, August 6, 2005
- "...a significantly stirring performance of Cara Sposa was greatly appreciated by the audience."
The Times, London August 2005
- “Taylor’s voice is immediately touching, rounded and full, and his technique is undeniably solid.”
Gramophone,UK 2005
- 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
- "No one should miss these musicianly and moving performances."
Golberg Magazine June 2005
- "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
- And his success with L’opéra de Montréal in Handel’s Agrippina: (March 2005)
“Daniel Taylor’s protrayal was one of pure, tangible emotion...an immense success."
Voir Magazine
“Pure emotional power” Montreal Gazette
“Remarkable” Globe and Mail
- BIS salutes Daniel Taylor’s return on a European tour with the Gabrieli Consort
in Handel’s Orlando:
“.. the finest Medoro I have ever heard, live or on recording..”
Andante (Jan 2005)
“the visionary eloquence of the star countertenor daniel Taylor.”
The Times, London Jan 2005
- “The beauty of his voice will stop you in your tracks.”
Gramophone, UK 2004
- Orfeo ed Euridice (Gluck’s Opera), Opera North, Leeds:
- “the Canadian counter-tenor Daniel Taylor’s Orfeo was most beautifully sung and phrased, culminating in a heart-stopping ‘Che Faro’”
The Sunday Telegraph, September 12, 2004
- “Daniel Taylor’s Orfeo, singing with gleaming tone, shapes the score with impassioned musicality.”
The Stage, September 23, 2004
- “And what singing with Daniel Taylor’s wonderfully true counter-tenor voice supreme throughout, his beautifully emotive Che Faro aria to his departed wife the cause of more than a few tears in the audience.”
The Courrier and advertiser, September 3, 2004
- “Countertenor Daniel Taylor is in superb voice as Orfeo”
Sunday Herald, September 5, 2004
- “But dance and design aside, nothing could overshadow the breathtaking brilliance of countertenor Daniel Taylor as Orfeo.”
Yorkshire Evening Post, September 9, 2004
- “Daniel Taylor, also making his opera North debut, is a superb Orfeo, on stage throughout the entire 90 minute performance, strong and expressive vocally.”
Yorkshire Post, September 9, 2004
- Orfeo ed Euridice (Gluck’s Opera), Edinburgh International Festival:
“Daniel Taylor’s exquisite countertenor reminds us what a great part Orfeo is, especially in the lament, which Taylor makes us hear as if for the first time.”
Financial Times, September 3, 2004
- CD-Arvo Pärt (ATMA):
- “Daniel Taylor’s sublime delivery tingles the spine.”
Revue Classique FM, July 2004
- “The ATMA recording is, again, probably more attractive texturally and stronger technically, with fine string performances and Daniel Taylor producing utterly gorgeous sounds; ”
Revue Gramophone, June 2004
- “In the world of countertenors, it doesn’t get better than this... his performance was simply a revelation.”
Toronto Star, Canada Feb 2004
- 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
- “Daniel Taylor is Canada’s best countertenor and one of the most sought-after young stars of the Early Music scene.”
The Mirror, Canada 2003
- “Canada’s finest countertenor... there is a sense of utter conviction that sets him apart from the others.”
Opera Canada 2003
- “The vastly refined singing of Daniel Taylor... he possesses a clear, powerful voice.”
The New York Times, USA March 2003
- “Sung with clear, unadorned lyrical beauty by countertenor Daniel Taylor in perhaps his best recorded performance to date.”
ClassicsToday.com, USA 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
- CD 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
- 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
- The Theatre of Early Music - CD review - Lamento
"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
- Handel’s Messiah with Les violons du Roy :
“Counter-tenor Daniel Taylor provided pure and ethereal vocal colours - and was especially appealing with the aria, ‘He Was Despised’.”
The Toronto Star, December 10, 2001
- “Taylor’s dulcet, elegant singing and velvety unusual timbre.”
Elissa Poddle, The Globe and Mail, Thursday, October 25, 2001
- Le Messie de Handel avec Les violons du Roy :
“Une chance que Daniel Taylor était présent. Quel musicien qui sent ce qu’il fait et qui a du goût et du style.”
Le Devoir 2001
- B minor mass:
- “..deserves to be singled out for high praise. He is a sensitive musician with a wonderfully flexible tone, and the way his high notes open up is a marvel. His aria in the Angus Dei, carried high over strings and organ, was breathtaking.”
James McQuillen, The Oregonian, Tuesday, March 27, 2001
- Daniel Taylor avec Les Grands Ballets canadiens de Montréal :
- “voix limpide et pure du haute-contre canadien Daniel Taylor”
La Presse, Samedi 10 mars 2001
- “Countertenor Daniel Taylor probably the most popular classical vocalist in the city, made a success of his MSO Messiah debut, singing with disarming purity of tone and unflagging sensitivity to text.”
The Gazette, December 20, 2000
- Les Grands Concerts avec l’OSM :
- “Le deuxième volet a permis d’apprécier comment Daniel Taylor pouvait se débrouiller dans une grande salle (grande au sens matériel du mot seulement!) et dans un répertoire qui ne lui est pas familier. Ma foi l’expérience est fort concluante. Quelle belle voix bien menée et qui rend avec sincérité le sentimentalisme de la musique.”
François Tousignant, Le Devoir, 26 September 2000
- Handel’s Theodora:
- “Daniel Taylor has a clear powerful voice.”
The New York Times, May 9, 2000
- “a voice of mellow delicacy yet powerful substance.”
The Washington Post, February 2000
- CD-Bach Arias with Oboe d’Amore (ATMA):
“Taylor’s voice is immediately touching more rounded and smooth and his technique is indeniably solid.”
Gramophone, January 2000
1990’s Top
- Handel’s Messiah:
“Counter-tenor Daniel Taylor was a revelation....I have never heard....‘He was despised’ sung with more intense artistry. ”
Robert Crew, The Toronto Star, December 21, 1999
- “Timber angélique” Times, London, UK, 1999
- “Daniel Taylor, standing beside Bartoli, showed how quickly he is rising through the ranks of young countertenors, with his impeccable musicianship and beautifully even tone.”
The Guardian, UK, 1999
- Dutroit Philadelphia Orchestra Bernstein
“The Chichester Psalms "Make A Joyful Noise" vibrated with Bernstein's now-familiar syncopated rhythms and
boundless energy. Counter tenor Daniel Taylor, whom local audiences recall from the Met's recent "Julius Caesar,"
held his audience in hushed amazement as he floated his eminently pleasing voice into the soprano range.“
Philadelphia Times August 2nd, 1999
- “La voix qui apaise. Si quelque chose vous pèse au creux de l’estomac, sans que vous en deviniez la raison, l’hiver trop long, amour contrarié, ou simplement...rien, écoutez la voix du contre-ténor.”
Présence Magazine, mai 1999
- “Daniel Taylor est un extraordinaire performer, au sens le plus noble du terme. Quel artiste ce Daniel Taylor. Il l’est pendant qu’il change, et totalement par sa voix, par son interprétation et par sa présence, qui ne font qu’un. Montréal, la ville qui l’a vu s’épanouir, est à ses pieds.”
Claude Gingras, La presse, 6 février 1999
- Daniel Taylor in Handel’s Rinaldo:
- “...with his impeccable musicianship and beautifully even tone.”
Andrew Clements, Guardian, January 1st, 1999
- “Daniel Taylor est un roi juvénile et facétieux. Sa délicieuse voix de miel s’affine, tout en gagnant en puissance”
Riviera/Chablais, 4 September 1998
- “By far the best singing comes from Daniel Taylor young Canadian counter tenor who brings a rare expressive beauty to Bertarido’s music.”
The Sunday Times, 1998
- “Daniel Taylor, one of the most in-demand singers of his generation, has been praised for his ‘seraphically pure tone’ and impeccable musicianship.”
The London Times, 1997
- “Un visge de chérubin pure qui semble venir du ciel. Le haute-contre Daniel Taylor mène une fulgurante carrière internationale. Les gens sont de plus en plus nombreux à penser que, lorsque Daniel Taylor ouvre la bouche, Dieu n’est pas loin. Sinon Dieu, du moins un de ses changes. Peu d’artiste chantent avec une telle aisance, Daniel possède une technique naturelle, et il est ce que j’appelle un musicien intelligent, dit Jan Simons.”
Véronique Robert, L’actualité, 15 octobre 1997
- Daniel Taylor in Handel’s Theodora at Glyndebourne Festival Opera:
- “Daniel Taylor excels in an outstanding production of sublime Handel....his tone seraphically pure, his musicianship impeccable”
The Times, August 5, 1997
- “Daniel Taylor (Didymus) and Joan Rodgers (Théodora) excel in outstanding productions of sublime. ”
Donald Cooper, The Times, August 1997
- “The radiant exceptions was the young Canadians counter-tenor. His marvellously beautiful voice has exactly the combination of purity and sensuality. He also looks the part and acts with passion, in what is one of Handel’s most complex roles”
The Spectator, August 16 1997
- “Taylor is a star. The best I have ever heard... from a gleaming soprano top to his dusky chest voice.”
Financial Times, UK, July 1997
- “Daniel Taylor sang the role with astonishing purity of tone and musicianship... brilliant...”
The Times, UK, July 1997
- “By far the best singing comes from Daniel Taylor, a young Canadian countertenor who brings a rare expressive beauty to the music.”
The Sunday Times, UK, July 1997
- “Daniel Taylor spectacularly virtuosic and incisive.”
The Guardian, UK, July 1997
- “Canada’s star countertenor... his talents were on glorious display.”
Globe and Mail, Canada, Dec 1992
- “Countertenor Daniel Taylor was simply a revelation. His voice of great beauty would have been reward enough, but to this he brought a sense of phrasing that was transcendent.”
Winnipeg Free Press, Canada, Dec 1991
- Handel’s Messiah:
“Taylor’s key aria, ‘He was despised’, was a jewel of a performance. It was made more riveting through the contrast of his own pale lines of grief”
The Oregonian, December 16, 1991
Awards Top
Daniel Taylor
Opus Prize
Conseil québécois de la musique
Discovery of the year 1999
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Daniel Taylor
Opus Prize
Conseil québécois de la musique
Artist of the year 2004
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Sony/BMG Masterworks RCA Red Seal label
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RCA RED SEAL
88697290312
October 2008
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Daniel Taylor - The Voice of Bach
J S Bach:
Juno Nomination
Billboard Soundscan Top Ten
5 Star BBC Music Magazine Title
Gramophone Featured Choice
BBC 10 Out Of 10
Classical Music Magazine Recommended
“..his work here is stunning. His sound is pure, smooth, ethereal,
and evocative, with excellent flexibility and perfectly placed - an ideal voice in Bach.”
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Soli Deo Gloria label
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SDG 138 Volume 27 (2 cds)
Jan 2008
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Bach Cantata Pilgrimage
BBC Music Magazine Award - Choral Category 2009
BWV 1048 - Brandenburg Concerto No.3
BWV 184 & BWV 175
Soloists: Lisa Larsson | Nathalie Stutzmann
Christoph Genz | Stephen Loges
BWV 194 / BWV 176 / BWV 165 & BWV 129
Soloists: Ruth Holton | Daniel Taylor
Paul Agnew | Peter Harvey
The Monteverdi Choir
The English Baroque Soloists
John Eliot Gardiner
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BIS label
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BISCD 1446
2005
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Love Bade Me Welcome
Songs and poetry from the Renaissance
Goldberg 5 stars
Repertoire R
10/10 Classic Today
Gramophone Choice
“The legendary countertenor James Bowman in magical form in glorious duet
with Canada's star countertenor Daniel Taylor”
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BISCD 1346
2005
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Leçons de Ténèbres
François Couperin
Goldberg 5 stars
Repertoire R
10/10 Classic Today
Gramophone Choice
“Beauty of the disc bows to no other”
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ATMA label
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ACD 22237
2005
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Scarlatti
Stabat Mater
Opus nomination
ADISQ nomination
Juno nomination
“I did this with Daniel Taylor, a most stylish, musical and congenial countertenor;
I really love his sound and the stillness he evokes in performance. Scarlatti's version of this text,
better known in Pergolesi's version, is highly individual and very moving.” Emma Kirkby
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ACD 22288
2003
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Bach Actus tragicus
BWV 106-200
Telemann-Du Aber,Daniel
Opus nomination
ADISQ nomination
top
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ACD 22279
2002
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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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ACD 22166
2000
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Star of the Magi
Baroque Christmas songs
Opus Prize
ADISQ nomination
Classic CD 10/10
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ACD 22260
2002
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Handel
Love duets
Opus Prize
ADISQ Prize
2003 International Handel Recording Prize - 2nd Place
Juno nomination
Repertoire R
Gramophone Choice
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ACD 22151
1998
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Dowland
Tears of the Muse
Opus Prize
ADISQ Prize
Juno nomination
Classic CD 10/10
Goldberg 5 stars
Repertoire R
Gramophone Choice
"Beauty of his voice will stop you in your tracks"
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ACD 22133
1997
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Henry Purcell
On the Muse’s Isle
Opus Prize
ADISQ Prize
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ACD 22308
2002
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Lamento
German Sacred Concert
Opus Prize
Goldberg 5 stars
Repertoire R
Classical CD 10/10
ADISQ nomination
Juno nomination
Top
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