La Passion selon St-Jean de JS Bach.    Poster for concert

On Tuesday, March 30th 2010, Daniel Taylor will join L’Ensemble vocal Polymnie and l’Ensemble Sinfonia of Montréal directed by the distinguished conductor, M. Louis Lavigueur, in the St John Passion of J.S. Bach.
Alain Duguay, Adrienne Savoie, Michiel Schrey and Alexandre Sylvestre will be the other invited soloists. The organist will be M. Luc Beauséjour.

This presentation will take place at l’église St-Jean-Baptiste, 309 Rachel est , Montréal, starting at 8:00pm.

The St John Passion, the first existing passion of Bach, allows the listener to feel the suffering and sacrifice of Jesus through the music. This magnificent work allows us to comprehend and transcend the desolation of the human condition.
This final chorus is the culmination of this Passion:
“ Ruht wohl, ihr heiligen Gebeine, die ich nun weiter nicht beweine, ruht wohl und bringt auch mich zur Ruh!”
“Rest well, rest well, Beloved, sweetly sleeping. That I may cease from further weeping, and let me too, rest well."”

Festival Montréal en lumière.

“ Avec l’accompagnement lointain des feux d’artifice hivernaux de Montréal en lumière, le Theatre of Early Music a donné vendredi soir à la Chapelle du Bon-Secours remplie à sa capacité un concert dont la vedette attendue était Dame Emma Kirkby.
Le directeur du TEM, le haute-contre Daniel Taylor, présenta affectueusement son amie et rappela quelques souvenirs de leur carrière commune. Nous avons retrouvé, à 61 ans bientôt, la célèbre spécialiste britannique de la musique ancienne telle que nous l’avons toujours connue au concert et au disque : souriant doucement sous son abondante chevelure blonde, comme dans quelque tableau d’époque, et apportant une voix petite mais claire, souple et juste à des textes et des musiques qui font manifestement partie de son être.
L’oeuvre principale au programme était le célèbre Stabat Mater de Pergolesi dans l’adaptation de Bach. Pergolesi, dont la brève existence de 26 ans s’inscrit au milieu de celle, beaucoup plus longue, de son illustre contemporain, reste un petit maître et l’on s’étonne que Bach s’y soit intéressé. Il a conservé les deux voix solistes et l’instrumentation originale mais a remplacé le texte de Pergolesi par celui du Psaume 51, modifié le contrepoint, changé certaines valeurs de notes et coiffé le tout d’un nouveau titre. Détail intéressant, Kirkby, Taylor et le TEM ont enregistré l’oeuvre au Bon-Secours en 2006 sur un disque BIS qui vient de paraître.
Le TEM, qui est en fait un ensemble vocal et instrumental à géométrie variable, complétait son programme avec un Salve Regina du même Pergolesi confié à la chanteuse, un air sacré de Schütz livré avec intériorité par Taylor, en voix lui aussi, et des pièces instrumentales de Fontana et de Schmelzer traduites avec une savante recherche de l’articulation baroque.”
Claude Gingras, La Presse, Feb 20, 2010

IMG Artists Europe and Asia: IMG Artists, the global leader in the artist management business, is pleased to announce the signing of Daniel Taylor and the Choir and Orchestra of the Theatre of Early Music. With an unparalleled degree of artistic and managerial talent, IMG is committed to breaking new ground in the ever-evolving world of the performing arts. IMG Artists and Daniel Taylor look forward to beginning their future touring collaborations. Daniel Taylor comments “I am honoured to have the opportunity to work with this brilliant management team which will compliment our work with local agents in South America, Canada and in France.” IMG Artists is the global leader in the arts management business, combining the highest standards of management with an incomparable range of services to its customers and clients alike. With offices in New York, Los Angeles, London, Paris, Hanover, Lucca and Singapore, IMG Artists delivers an international suite of capabilities including the management and touring of the finest musicians, dance companies, orchestras, and attractions, as well as consulting and advisory work for sovereign clients, arts institutions, concert halls, and culturally engaged corporations. IMG Artists will continue to seek out distinctive partnerships and craft collaborative initiatives in the years to come.

Daniel Taylor "stops show" - New York, Dec 16th 2009

After Daniel's interpretation of the aria "He was despised" the audience of Avery Fischer Hall could not hold back their "Bravos" and burst into applause in the middle of the presentation of Messiah by the New York Philharmonic Orchestra with Helmut Rilling and the Gächinger Kantorei Stuttgart Chorus.

Reviews from Daniel’s "Messiah tour", December 2009

• “Soprano Suzie LeBlanc and countertenor Daniel Taylor sounded ethereal and pure..... they were riveting in their most important arias.”
  David Weininger , Boston Globe, December 5
  
  
• “ He brought dramatic conviction and clean singing to his solos.”
  St. Louis Post , Dec 13
  
  
• “Clear, pure voice...”
  New York Times, Dec 16
  
  
• “... warm and mellifluous, but enough of a musician to punctuate the line with meaningful words”
  Montreal Gazette, Dec 22
  
  

Stabat Mater - UK Gramophone Magazine: Editor's Choice, November 2009

Choosing his ten personal favourites among the discs reviewed in Gramphone’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.”

BIS SACD-1546 June 2009

Stabat Mater Bach, Pergolesi, Vivaldi Antonio Vivaldi (1678 - 1741): Sonata ‘Al Santo Sepolcro’ In E Flat Major, Rv130 - TEM orchestra Stabat Mater, Rv621 - Daniel Taylor Giovanni Battista Pergolesi (1710 - 1736): Salve Regina - Daniel Taylor Johann Sebastian Bach (1685 - 1750): Tilge, Höchster, meine Sünden (Psalm 51), BWV1083 (Transcription of Stabat Mater by Pergolesi) Emma Kirkby, soprano Daniel Taylor, Countertenor Theatre of Early Music

Jonathan Woolf (musicweb-international.com)
“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. ”

BBC Music Magazine, October 2009 *****
“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.”

Classic CD Germany
“..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 !”

Daniel's Latest Recording with The Bethlehem Bach Choir

AN 29873 Dec 2009

Bach - Magnificat BWV 243, & Cantata "Gloria in excelsis Deo" BWV 191 Vivaldi - Gloria RV 589 Daniel Taylor, counter-tenor Benjamin Butterfield, tenor Daniel Lichti, bass-baritone The Bach Choir of Bethlehem Conductor : Greg Funfgeld “The oldest American Bach Choir, The Bach Choir of Bethlehem performs, on their first recording on the Analekta label, works celebrating the Creator by J.S. Bach and Vivaldi. Such renowned singers as Daniel Taylor, Daniel Lichti and Benjamin Butterfield are joining conductor Greg Funfgeld on this glorious recording.” “This recording could have been titled "Glorious Glorias," since the first of these three works ends with the Gloria Patri, the second is a setting of the Gloria in excelsis Deo, and the third conjoins the Gloria in excelsis Deo with the Gloria Patri.”

The Theatre of Early Music are appointed as artists-in-residence at the Conservatoire de musique de Montreal.

Raffi Armenian, director of the Conservatoire de musique de Montreal, has announced the formation of the Baroque Institute at the Conservatoire de Montreal and the Conservatoire's new collaboration with the Theatre of Early Music. Raffi Armenian comments "This is a wonderful new development for the Conservatoire and for the Baroque Institute."
Daniel Taylor will join the Conservatoire as Professor of Voice. Musicians of the Theatre of Early Music include violinists Adrian Butterfield (Royal College of Music, London), Cynthia Roberts (Juliard School, NY), cellist Myron Lutske (Manhattan School, St. Luke's Chamber Orchestra), harpsichordist and conductors Laurence Cummings (Royal Academy of Music, London) and Matthew Halls (Kings Consort, London). Daniel Taylor and the Theatre of Early Music only days before signed for international representation with IMG Artists Management.

Taylor comments “The Theatre of Early Music is motivated by a desire to communicate both text and music to our audience. We explore the depth and substance of this choral and instrumental literature as we share our ideas and passion. We are very excited about the opportunity to share this goal with our students. Raffi Armenian offers new hope to young Quebec and Canadian students interested in early music and I appreciate his confidence and support.”

Daniel Taylor - The Voice of Bach - Now available directly from the TEM Office

Followers of Daniel Taylor and The Theatre Of Early Music are encouraged to order their Voice of Bach CDs directly from the Office of The Theatre Of Early Music. CDs prices are: Canada $20 / USA - Cdn$22 / elsewhere - Cdn$25 (shipping included)
Please note these CDs will be available at all our Canadian TEM Concert Venues.
Purchase 5 Discs And Receive A 6th Cd Free

RCA RED SEAL 88697290312 October 2008

Daniel Taylor - The Voice of Bach J S Bach: Juno Award Nomination 2009 Billboard Soundscan Top Ten 5 Star BBC Music Magazine Title Gramophone Featured Choice BBC 10 Out Of 10 Classical Music Magazine Recommended Agnes Zsigovics, soprano Daniel Taylor, countertenor The Choir & Orchestra of The Theatre of early Music Daniel Taylor, Director Extract:  Track ‘O Jesu Christ meines Lebens Licht’ Extract:  Track 7 ‘Du wahrer Gott und Davids Sohn’

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Music meets theatre as Stratford vets join concert to celebrate Henry Purcell's 350th birthday

Steven Mazey, The Ottawa Citizen
May 14, 2009

It’s a 350th birthday concert for composer Henry Purcell that will bring together some of Canada’s leading singers, an acclaimed baroque ensemble, two of the country’s best-known actresses and a few words from William Shakespeare.

In two performances Sunday at Dominion Chalmers Church as part of the Canadian Tulip Festival, Ottawa countertenor Daniel Taylor will be the conductor and one of the performers for a Purcell concert he put together at the invitation of festival director Julian Armour.

The concert’s first half will include selections of Purcell’s sacred music, followed in the second half by a concert performance of Dido and Aeneas, the opera that tells the tragic love story of Dido, Queen of Carthage, and Aeneas, Prince of Troy.

Taylor will be one of the soloists and will conduct the choir and orchestra of the Theatre of Early Music, the Montreal-based ensemble he founded in 2001.

Music and theatre will meet in the form of Shakespeare monologues, performed by actresses who have starred regularly at the Stratford Festival and theatres across Canada: Martha Henry and Diane D’Aquila .

Taylor invited each actress to choose pieces to suit the reflective music of the concert’s first half and the opera’s stormy love story in the second half of the concert.

“I told them, ’Here are the moods I’m looking for, and I want you to do it in the voice that best suits you,’” Taylor said recently.

“I think this kind of thing can make it more interesting for an audience. It turns on different senses than when you just hear music on its own, and it can be very exciting.”

In choosing the pieces for the Purcell concert, he says, “I wanted to include the sacred music but also music from the theatrical side. This opera is so well known and loved, and it’s one of Purcell’s greatest pieces. There’s a mix of beautiful arias and a very beautiful chorus at the end, and I really enjoy the dramatic structure, the fact that it changes so many moods.”

Though based in Montreal, Taylor and the ensemble have performed regularly in Ottawa. Their performance was one of the highlights of last year’s Ottawa Chamber Music Festival, and a Christmas concert by Taylor and the ensemble at Notre Dame Basilica attracted a capacity crowd and raves from listeners.

In their years together, Taylor and the musicians and singers have developed a close chemistry and they produce a spine-tingling beauty of sound. He and the group received a Juno nomination and enthusiastic reviews for The Voice of Bach, their first recording for the Sony-BMG Masterworks label as part of a multi-disc deal Taylor signed with the label.

“It was a bit of choreography bringing together all these people, but we’ve got a really good team,” says Taylor. He has worked regularly with the singers he’s brought together for Dido, and he says they’re ideal for the roles.

Montreal soprano Suzie LeBlanc, who is singing the role of Dido, has become a star singer on the Canadian and international early-music music scene. She recently sang in a performance of St. Matthew Passion at the Brooklyn Academy of Music. Taylor has also worked often with Dobson.

“There is something special about Suzie’s singing. She is immediately touching as a performer. Alex has one of the most beautiful young baritone voices in Canada right now, and a very dramatic presence. There’s a wonderful chemistry between the two of them.”

Taylor sings the role of the sorceress, a role he has sung often, including a performance at London’s Wigmore Hall with the Gabrieli Consort.

“She’s a great villain, and a lot of fun to play, because there is nothing redeeming about the character.”

In Dido, which lasts about an hour in performance, Taylor’s role involves about six minutes of singing, and he says it isn’t particularly difficult to sing his brief role and also lead the performance.

“Singing is what I do, and I’m comfortable with that. The conducting is challenging, but it’s also been giving me a tremendous amount of joy. If I could, I would always do it this way, where I would sing a bit and conduct as well,” he says.

”That’s definitely the way I’m building my career, and where I would like to see it go.”

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