Daniel Taylor - Coupures de Presse

English

	TEM Accueil	Daniel Taylor	Concerts	Nouvelles	Discographie	Contacts
		Nouvelles Sony/BMG	Biographie	Coupures de Presse	Photographies	Prix & Distinctions
	Daniel Taylor Coupures de Presse: 2006-2004 2003-2000 1990’s Festival Des Musiques Sacrées De Québec. Choeur du Theatre of Early Music. Direction musicale: Daniel Taylor “Le public du Festival des musiques sacrées flottait comme sur un nuage à la sortie du concert d’ouverture offert par le contre-ténor Daniel Taylor et son choeur du Theatre of Early Music. Imaginez. Avant la pause, au contact de la pureté angélique de cette vingtaine de voix, certains avaient déjà versé quelques larmes de joie. C’est au Festival et à Saint-Roch que le choeur du TEM a officiellement lancé sa carrière, il y a deux ans. Je n’y étais pas, mais je peux dire que la qualité de ce qu’on a pu entendre, hier soir dans cette même église, classe le choeur parmi les bons, sinon les meilleurs. Le mélange de ces timbres droits et légers conserve une texture lisse et à l’occasion véritablement onctueuse. Le texte est soutenu et accentué dans le respect de la musique de la langue. Comme environnement acoustique, on peut difficilement trouver mieux que l’église Saint-Roch pour écouter chanter un choeur a cappella. La Renaissance anglaise, avec Tallis et Purcell, a dominé la première partie. L’intonation est stable, l’équilibre vocal aussi. L’unité et la cohésion semblent plus fortes dans la polyphonie de Palestrina. Une oeuvre particulièrement bien fondue signée Gombert, truffée d’originalités harmoniques et dans laquelle on trouve même des sections aux accents quasi-modernes, a conclu la première partie. Daniel Taylor dirige comme il chante, c’est-à-dire de façon détendue et avec un minimum de gestes. Le mouvement d’ensemble n’en est que plus souple, plus paisible. En exécutant quelques courts solos à intervalles réguliers tout au long du concert, le chef-chanteur a réussi à installer une ambiance propice au repos, à la relaxation et à la méditation. En tout cas, la forme a semblé plaire et répondre parfaitement à ce que les gens sont venus chercher. “Path to Paradise” disait le titre du spectacle. Apparemment, plusieurs en ont trouvé la route. ” Richard Boisvert Le Soleil, 24 Octobre 2008 Coupure de Presse: Daniel Taylor - The Voice of Bach “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... ” Chris Foley - Sunday, 05 octobre 2008 Daniel Taylor est reçu avec ravissement à Wroclaw, Pologne: “Un artiste renversant...Une voix puissante, séduisante, émouvante et excitante...Un maître de son répertoire... pas surprenant que l’auditoire de 8000 personnes était debout pour crier “BRAVO”...” Wratislavia Cantans Festival Concert en plein air à Wroclaw 6 Septembre 2008 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 11 Septembre 2008 - english translation from the the culture-page Le festival de musique de chambre 2008 de Ottawa - “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 par Steven Mazey, 12 août 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, 02 août 2008 Toronto Summer Music Festival - 26 juillet - “yet another shining evening” Theatre Of Early Music - Helene Plouffe et Olivier Breault, violons; Kathia Robert, alto; Melisande Corriveau, violoncelle; Eric Milnes, clavecin et Reuven Rothman, contrebasse. Dirigé par Daniel Taylor, contre-ténor avec Suzie Leblanc, Soprano “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, 28 juillet 2008 101st Bethlehem Bach Festival, mai 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, 8 mai 2008 “Countertenor Daniel Taylor...every phrase shimmered with vitality and comprehension. He's one reason to make the trip. ” David Patrick Stearns, Philadelphia Inquirer, 7 mai 2008 Purcell: Come Ye Sons of Arts; Dido and Aeneas Gabrieli Consort & Players/Paul McCreesh Wigmore Hall, London, 29 avril 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.” ....encore... Claudine Nightingale “Countertenor Daniel Taylor, a mischievous mix of diva and zombie as the Sorceress” Erica Jeal, The Guardian, 6 mai 2008 The Splendour of Bach with Ottawa Bach Choir - 18 avril 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, 20 avril 2008 Tafelmusik Baroque Orchestra with Daniel Taylor and Christine Brandes - avril 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 11 avril 2008 Three odes for Saint Cecilia with the Gabrieli Consort & Players, London 21 février 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 Here Let My Life - Analekta AN2 9948 “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 Taylo's light, silvery countertenor is perfect for the intimacy of "Music for a While" or the luricism of "If Music be the Food of Love"“ Kate Bolton BBC Music Magazine mars 2008 À propos de SAUL de 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 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 14 décembre 2007 Daniel's first Analekta CD, “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 novembre 2007 14th Ottawa International Chamber Music Festival, Ottawa, Canada, 22 juillet - 4 août 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, 28 juillet 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, 04 août 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, 05 août 2007 100th Bethlehem Bach Festival, mai 4 - mai 12 2007 There was some notable solo singing, especially the expressive, silvery alto of Daniel Taylor... Barrymore Laurence Scherer, Wall Street Journal 9 mai 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 avril 2007 “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.... ” 30 mars 2007 par Jon Kaplan www.nowtoronto.com 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, 3 mars 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 17 janvier 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, 19 janvier 2007 2006-2004 Haut “Daniel Taylor compte non seulement parmi les trois meilleurs contre-ténors au monde ..... mais il est l’un des meilleurs chanteurs, point.” 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 “...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 2003-2000 Haut 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 “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 Haut 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 Haut