Daniel Taylor is a Sony Classical recording artist, Artistic Director of the Toronto Consort, Artistic Director and Conductor of the Trinity Choir as well as the Choir and Orchestra of the Theatre of Early Music, and one of the most sought-after countertenors in the world. His work has been recognized with GRAMMY®, Gramophone, Juno, Opus, CBC-SRC, BBC and Adisq Awards. He was awarded the National Medal for Music, the Queen’s Diamond Jubilee Medal and was recently named as an Officer of the Order of Canada. 

Daniel appears as soloist on more than 120 recordings, which include Bach Cantatas with the Monteverdi Choir dir. Sir John Eliot Gardiner (Deutsche Gramophone Archiv and SDG); Renaissance duets with James Bowman and Michael Chance, Hollywood Actors Ralph Fiennes and Jeremy Irons (BIS) and with the late Martha Henry; Handel’s Rinaldo with Cecilia Bartoli, Gerald Finley and AAM dir. Christopher Hogwood (DECCA); Before Bach with Collegium Vocale dir. Phillipe Herreweghe (Harmonia Mundi); Bach’s setting of the Pergolesi Stabat Mater with Dame Emma Kirkby (BIS); Sakamoto’s pop-opera Life (SONY) in a cast that included Salman Rushdie and the Dahli Lama; Bach Cantatas with Bach Collegium Japan for Masaaki Suzuki (BIS); Vivaldi Gloria with the Bethlehem Bach Choir/Greg Fumfgeld (Analekta); five recordings of Handel’s Messiah, including those with the Montreal Symphony/Kent Nagano (Universal), Kammerchor Stuttgart/ Frieder Bernius (Carus), with the Handel & Haydn Society/Harry Christophers (Coro), with the American Bach Soloists/Jeffrey Thomas (Koch )and a CD/DVD with Tafelmusik/Ivars Taurins (Bravo Television). Daniel has recorded the CD/DVD of Bach’s Mass in B minor with the Ensemble Orchestral Paris/John Nelson (EMI Virgin) and also with the Kammerchor Stuttgart /Frieder Bernius (Carus). Recently, Daniel’s recording of Angelheart with cellist Matt Haimovitz, mezzo Frederica Von Stade and Actor Jeremy Irons with Producer David Foster won a GRAMMY Award. Daniel appears on two soundtracks for Cirque de Soleil: TORUK – The Story of Avatar (on which he sings the role of the Avatar) and TOTEM for Universal.

Daniel’s extraordinary series of recordings for SONY includes solo recordings The Voice of Bach and Come Again Sweet Love as well as his award-winning choral recordings with the ensemble he founded and conducts, The Trinity Choir: Four Thousand Winter, The Tree of Life, and The Path to Paradise.

Daniel’s professional operatic debut was at the Glyndebourne Festival followed by his North American operatic debut at the New York Metropolitan Opera. He appeared at the Rome Opera, Welsh National Opera, Canadian Opera, Opera North, in Munich and at the Edinburgh Festival. Gluck’s Orfeo and Handel’s Rinaldo at the Teatro Colon Buenos Aires, the World Premiere of Robert Lepage’s production of Ades’ The Tempest. Recently, he made his European Stage Directing debut with Puccini’s Suor Angelica with the Amalfi Coast Opera in Italy

He has joined leading orchestras including San Francisco, Los Angeles, London, Lisbon, Cleveland, National Arts Centre, Toronto, Calgary, Montreal, New York Philharmonic, Philadephia Orchestra, Rotterdam Gothenburg and Scottish National, as well as the Cincinnati, Dallas and Houton Symphonies and the Israel Philharmonic and Taiwan National Symphony, and performed recitals at Lincoln Centre, Barcelona’s Palau de la Musica, at Carnegie Hall, Wigmore Hall and the Forbidden City Concert Hall Beijing.

With the Monteverdi Choir and Sir John Eliot Gardiner, Daniel appeared on the Bach Cantata Pilgrimage joining in concerts and recordings across Europe and North America. With the English Baroque Soloists/Gardiner, he appeared in Handel’s Israel in Egypt at the BBC Proms, returning to the Proms with the Bethlehem Bach Choir and in recital with the Akademie für Alte Musik Berlin. His long association with the Director Jonathan Miller included Handel’s Rodelinda (recorded for EMI Virgin) and Bach’s St. Matthew Passion. He has also performed and recorded Handel’s Saul with Bachakademie Stuttgart (for Hänssler Classics) and Buxtehude Cantatas with the Amsterdam Baroque Orchestra (Channel Classics).

As a conductor, he has led the Theatre of Early Music since XXXX, and made his guest conducting debut with Musica Angelica Los Angeles. He has also led the Newfoundland Symphony, the Kammerhcor Stuttgart, the Gabrieli Consort and as the first guest conductor in the history of The Tallis Scholars.

Daniel has appeared at the request of Prime Ministers of Canada, Presidents of the United States, on German television for the Prime Minister of Germany, on Spanish television for the Queen of Spain, in a recital for the King and Queen of Sweden, for the Queen of England and at a first nations pow-wow. He has appeared on Canadian television and radio in live events on many occasions for estimated total audiences of more than 5 million listeners. With a Canadian delegation, Daniel travelled on a trade, education, health and culture mission across Africa.

Daniel is a Visiting Faculty of the Siena Liberal Arts University (Italy), Victoria Conservatory of Music in British Columbia (Canada), the Paris Academy (France), and Amalfi Opera (Italy). He has given guest masterclasses across Canada and the United States and at the Royal Academy of Music (UK), Sao Paolo University (Argentina), Beijing Conservatory (China), Royal College of Music (UK), Oberlin Conservatory (Ohio), Bloomington University (Indiana), University of Vienna (Austria) and Guildhall School of Music (UK).

Daniel Taylor is Associate Professor of Voice, Early Music and Opera and Director of the Historical Performance Area at the Faculty of Music, University of Toronto. He was recently named a Senior Fellow at Massey College and is a leading Vocal Consultant to major Canadian Opera Companies and promoters. He leads the growing Historical Performance Area with graduate and post-graduate level programs. His scholarship and teaching includes exploring the relationship between performance and well-being, leading to the building of healthy and sustainable technique.

HANDEL | Israel in Egypt | Theater of Early Music

“Taylor… did an excellent job of laying out this epic tale in music…It was even better to have someone with Taylor’s sensitivity to pacing and texture on the podium.”

 — John Terauds, Toronto Star

HANDEL | Dixit Dominus | Theater of Early Music

“Daniel Taylor conducted Handel’s Dixit Dominus with his own hand-picked vocal and instrumental ensemble from Toronto.

The Dixit is such a dramatic, striking work that it’s easy for conductors to exploit extremes of dynamic range and tempo. Taylor’s version had nobility and plenty of vigour, but stayed well within the bounds of sane execution. The choir was undoubtedly the star: fresh, precise in its attack, with a rich, vibrant, present sound that belied its small numbers.”

 —artslife

The Tree of Life | Theatre of Early Music

“The Tree of Life includes stunning a cappella vocal performances by The Trinity Choir in a beautiful juxtaposition of poignant 20th century works with early music gems, all realized with Daniel’s dedicated attention to detail and creative expertise.” —hbdirect.com.

Daniel Taylor gets first-rate singing from The Trinity Choir…Looking at some of the names in its ranks, the quality of the choir’s sound and ensemble is hardly surprising. —Richard Fairman, Financial Times

“Taylor’s Trinity voices sound creamy and plush in the ultra-resonant St Augustine’s Church in Kilburn, north London.” —Kate Molleson, The Guardian

"After the brilliant success of his previous album Four Thousand Winter, Canadian countertenor Daniel Taylor returns to offer us a Christmas season with the voices of his superb Trinity Choir... the Trinity Choir brings together the finest flowering of the most beautiful chorister voices..." — Montreal Gazette

“Tonight felt like a kind of affirmation of permanence in the face of change and disorder in the world. St Paul’s Basilica at Queen & Power was packed with eager listeners, attracted no doubt by The Tallis Scholars’ wonderful discography, but also perhaps aware of the new kids in town, Taylor’s two ensembles that shared the program and are now also recording for SONY.”
Toronto Star

“His star is rising as fast as the speed of sound…Daniel Taylor, a new Conductor on the scene breathing new life into magnificent yet neglected choral masterpieces.”
Globe and Mail

Bach Recording for SONY

“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, January 2009

Ottawa Festival of Music and Beyond, Gala Opening

" … It began with Daniel Taylor and his Theatre of Early Music, chorus and orchestra, who presented Handel’s anthem, Zadok the Priest. It was a splendid performance; one can scarcely imagine a stronger way to open a festival."

Richard Todd, Ottawa Citizen, July 2012

Didon et Énée, “Un petit miracle”

"Preuve que l’on peut faire des miracles sans dépenser des millions quand on a du talent, ils ont donné un spectacle vivant et passionnant sans le moindre décor, costume ni accessoire.

En première partie, on présentait des airs de Handel, Purcell et Tallis. Le chœur, chantant trois pièces a cappella avec énormément de nuances et de précision, est saisissant.

La distribution est excellente. Les musiciens qui les accompagnent, satisfaisants. Sans posséder une immense voix, Alexander Dobson fait un énée séducteur et crédible, et on ne se lasserait jamais d’écouter Grace Davidson, cristalline et juste en Belinda.

Au second acte, voilà que Daniel Taylor détache sa queue de cheval, ébouriffe sa tignasse, quitte sa place de chef et saute sur scène où il se métamorphose en une magicienne hilare, gesticulant de temps à autre vers le chœur en un curieux dédoublement de personnalité chef-chanteur. Il a l’air de jubiler. L’exploit donne une impression quelque peu mégalomaniaque, mais ça fonctionne! Car nonobstant ses diversions capillaires, il chante avec panache, sa conception de l’oeuvre est cohérente et il dirige d’une main de maître.

Caroline Rodgers, La Presse, February 2012

Didon et Énée,  “Un enchantement!”

"Rarement a-t-on entendu un petit ensemble d’une telle qualité. L’orchestre de 11 musiciens, jouant à l’ancienne, regroupe des jeunes musiciens de grand talent. La seule tête grise dans le groupe est l’organiste montréalais et spécialiste de musique ancienne Christopher Jackson au clavecin. Ils accompagnent à la perfection un groupe de jeunes chanteurs aux voix exceptionnelles, excellents interprètes de la musique médiévale et bons comédiens. On sent que tous ces artistes, plusieurs réunis pour la première fois, sont unis par un grand amour de la musique et qu’ils ont du plaisir à jouer et chanter ensemble.

Même sans décors et sans costumes, The Theatre of Early Music donne beaucoup plus qu’une simple version concert. Nous assistons à une représentation d’opéra avec jeu d’acteurs. Les personnages qui, à l’exception de Didon et de la sorcière, s’intègrent au chœur entre leurs apparitions, entrent et sortent de scène et jouent leur rôle avec brio. Le baryton canadien d’origine britannique Alexander Dobson, qui fait carrière à l’opéra, était très à l’aise et convainquant dans le rôle d’Énée. Il a une voix superbe, une diction parfaite et une belle prestance en scène. La charmante soprano anglaise Grace Davidson interprétait Belinda, confidente de Didon. Elle a chanté et joué d’une manière superbe et tout à fait crédible. Elle a une très belle voix et une diction parfaite. La soprano torontoise Agnes Zsigovics, une habituée du Theatre Early Music et qui a souvent chanté des duos avec Daniel Taylor, jouait le rôle d’une dame de cour. Ses duos avec Belinda ont été parfaitement exécutés, vivants et émouvants.

Daniel Taylor, qui dirigeait discrètement devant l’orchestre, a été époustouflant dans le rôle de la sorcière. Il a donné toute une démonstration de ses talents de chanteur et d’acteur. Taylor a réussi à faire chanter en chœur tous ces artistes qui, pour la plupart, poursuivent des carrières internationales de solistes. Les chœurs étaient superbes, aucune voix ne perçant l’ensemble. En première partie, Taylor a programmé de courtes oeuvres qui ont permis d’apprécier le talent des solistes, comme un plateau de hors d’oeuvre raffinés précédant un grand plat, notamment le superbe duo Oh Lovely Peace de Purcell, avec Daniel Taylor et Grace Davidson, Total Eclipse de Handel par Benjamin Butterfield et des pièces de Thomas Tallis et Purcell admirablement bien chantées par le chœur.

Ce fut un grand moment musical dont on se souviendra longtemps. "

Pierre Meunier, La Liberte - Manitoba, 9 February 2012

Dido and Aeneas, “A sublime performance giving life to Opera”

"This matchless ensemble was a joy from beginning to end. It was incredible to find that while each soloist was unique, possessing a timbre, expression and tone all their own, they combined as a chorus into a superbly blended unit. Taylor moved seamlessly from conductor to countertenor soloist (in the role of the evil Sorceress.) He subtly led a seven-piece baroque orchestra (including lute) that was impressively authentic to the period.  Taylor transformed himself from conductor to Sorceress by unleashing his mop of wavy hair and adopting a wild-eyed facial expression. With deliberation and intense audacity, he put forth his distinctive voice in the soprano range, but with timbre and texture that are purely Taylor.

The epitome of control, the chorus ended this mesmerizing performance with a gossamer sadness that left the audience silent, until they erupted into a much-deserved standing ovation."

Gwenda Nemerofsky, Winnipeg Free Press, February 2012

“An unforgettable evening”

“Before the opera there was a set of three a cappella items by Tallis and Purcell. The performances were exemplary with fine blending and balance, solid intonation and admirable ensemble. The choral contributions to the Dido and Aeneas were of similar mettle, although they were accompanied. The orchestra of seven baroque instrumentalists did extremely well. The musicians’ sense of style and the vitality of their playing were entirely irresistible."

Richard Todd, The Ottawa Citizen, February 2012

The Gloria of the TEM

"As part of the Montreal Bach Festival, a large audience gathered on Sunday afternoon to hear the Theatre of Early Music performing at the majestic Église Saint-Léon de Westmount. The concert opened with the ethereal voice of Daniel Taylor floating over the crowd from the back balcony of the church. He proceeded to lead the TEM choir in a series of moving choral works, beginning with a traditional Basque air, The Angel Gabriel From Heaven Came, and ending with John Tavener’s The Lamb, a contemporary work that combines homophonic simplicity with exquisite moments of dissonance.

Concluding the concert, the orchestra and choir joined together to present a passionate rendition of Vivaldi’s Gloria. Under Taylor’s guidance, the choir expressed the jubilant highs and simmering lows of this stunning religious work, enhanced by the sensitive and spirited playing of the orchestra.

This concert was the perfect antidote to a grey Sunday in November, breathing joyous life into sacred works of music to warm us as winter sets in."

Hannah Rahimi : Festival Bach Montréal, November 2011

"As founder and artistic director of the Montreal-based Theatre of Early Music (TEM) and a singer of international renown with over 60 recordings to his credit, Canadian countertenor Daniel Taylor is now at a point in his career where, on the Sony label, he headlines a recording that counts among its vocal performers Dame Emma Kirkby, Michael Chance and Charles Daniels as well as Carolyn Sampson and Neal Davies. Drawing on repertoire inspired by, referred to or performed in the plays of Shakespeare, this is a delightful and varied collection of solos, duets and madrigals complemented by adept instrumentalists from two different ensembles. A most wonderful confluence occurs in the various combinations of voices as in Orlando Gibbons’ The Silver Swan and particularly when countertenors Taylor and Chance duet in Robert Jones’ Sweet Kate and Thomas Morley’s Sweet nymph, come to thy lover. Purcell’s By Beauteous softness and If music be the food of love as well as Johnson’s Full Fathom Five are interpreted with tender affect by Taylor, Sampson and Davies respectively. Charles Daniels is given the title track and Emma Kirby adds a light-hearted flavour to Now what is love? This collection, recorded in London, is highly recommended as a feast of love for a mid-summer’s night."

Dianne Wells, The Wholenote, July 2011

"Accompanied by the voices and period instruments of the Theatre of Early Music, celebrated countertenor Daniel Taylor here presents a collection of songs drawn from, or influenced by, Shakespeare, composed by the likes of Gibbons, Purcell and Dowland. Vocal leads and arrangements are shared: the results include a four-part madrigal setting of Gibbons’ "The Silver Swan"; solo pieces accompanied by theorbo, such as Taylor’s poised expression of a woman who "with such sweetness and such justice reigns" in Purcell’s "By Beauteous Softness"; and tenor Charles Daniels’s extended swoon of ardour through Dowland’s "Come Again, Sweet Love Doth Now Invite"."

The Independent Angleterre, June 2011

"If you Google the words Shakespeare and songs/music you will find dozens upon dozens of releases but this new 21-track CD by Montreal’s Daniel Taylor will most likely rank up there as one of the best of contemporary times. Taylor is a star of classical music that established the Quebec-based Theatre Of Early Music a decade ago that often records baroque, Elizabethan music. Taylor is known for his superb countertenor and on Come Again Sweet Love he covers mostly ballads written by Henry Purcell (1659-1695), Edward Johnson (1572-1601), Tobias Hume (1569-1645) and others of the era who sometimes used Shakespeare’s text for their compositions. There is a lovely song by Dame Emma Kirkby on Now What Is Love? with text by Sir Walter Scott . A few other singers help out as well, but Taylor consistently steals the show on this lengthy classical disc. There are extensive liner notes making this a musicologists dream release and the few heavenly instruments with lute, viola, theorbo and bass makes this a delightful listen that harkens way back to the antiquities of popular song of the day.”

bclocalnews.com, June 2011

"Star of Wonder" at Knox Presbyterian Church Ottawa

“Essential to the overall success of both cantatas were the well-disciplined chorus and orchestra of period instruments. The dazzling (early music) program is due in large part to the powers of persuasion of Ottawa's own gift to countertenordom, Daniel Taylor. Taylor has assembled a brilliant choir and conducts the singers with sensitivity and beautifully shaped lines”

Richard Todd, Ottawa Citizen, December 2010

“That was celestial,” said former federal cabinet minister Monique Begin July 11 at Knox Church, where she was among the music lovers who were standing and cheering the performance by the superb choir of the Theatre of Early Music. The choir performed with spine-tingling beauty of tone and blend, in music by Tallis. William Byrd, Palestrina and others. The choir capped the concert with a sublime performance of Allegri’s Miserere, which also featured a lyrical dance performance by Coleman, Lemieux et Compagnie. Taylor has assembled a brilliant chamber choir, and the singers never sounded hard or shrill, even in some killer high notes."

Steve Mazey, Ottawa Citizen Monday, July 2010

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, February 2010

TEM “Stabat Mater” on BIS

“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 …  but its playing never feels underweight, and rhetorical qualities in the music are clear yet unforced...Taylor's intelligent and stylish singing belongs in a select class alongside a few of the finest and sweetest voices of its type. … the well chosen programme is rounded off by Tilge, Höchster, meine Sünden (Bach's creative yet respectful adaptation of Pergolesi's Stabat mater, using the text of Psalm 51), in which Emma Kirkby's delicate singing elegantly blends with Taylor's.”

UK Gramophone Magazine: Editors Choice, November 2009

“A disc as lovely as this should not be overlooked. Vivaldi’s Stabat Mater has hardly lacked for fine recordings over the years but here we have a performance of real distinction and allure. The Theatre of Early Music is a small band - two violins, a viola, cello and bass, with lute and organ - but its tempo decisions and internal balancing are both exemplary. Articulation is crisp - note the cleanly articulated cello line - and the timbral qualities of the string are auspicious. Rhythms are buoyant, and the expressive qualities of the music are held in fine balance. To turn to specifics, the Quis est homo is rendered with delicate refinement, a legato melsima of real eloquence. Daniel Taylor evinces no sense of forcing his counter tenor, and no glorying in its very obvious qualities for the sake of it; some other counter tenors should take note. The tempo for the slow Fac ut ardeat is judged to perfection, with its sense of motion ensuring that the textual meaning is perfectly conveyed. Pergolesi’s compact Salve Regina again evinces strongly meditative qualities in this performance. Here, in the Bach setting of the Pergolesi Stabat Mater, Taylor is joined by Emma Kirkby and their rapport is obvious, the voices well blended, and as before the reflective sense of the chosen tempi conveys a great deal. It’s a very natural, unforced performance with no extraneous gestures, vocal or instrumental, to distract. The depth and pathos are everywhere apparent. … played with tactile excellence by the string players … this reflective disc brings impressive and sensitive qualities to bear, and should on no account be overlooked. ”

Jonathan Woolf (musicweb-international.com), November 2009

“..with the gentle and sweet introduction of the sonata, director Daniel Taylor leads us with his singular and wondrous technique - with his soft, warm and deeply moving voice - through the painful expression of devotion found in the Vivaldi Stabat Mater and the remarkable Salve Regina. Emma Kirkby joins Daniel in pure emotional harmony and the listener can only marvel at this degree of interpretation - recommended!”

Classic CD Germany, November 2009

Salve Regina – Pergolesi :“ … 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 Critique de James Manheim, November 2009

À propos de la transcription du Stabat Mater de Pergolèse par JS Bach :“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 that allows the singers to communicate directly with the listener. Selfless and inspiring music-making, despite its often poignant tone. ”

Critique de John Miller, SA-CD, July 2009

Festival Des Musiques Sacrées De Québec

“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 chœur 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 chœur 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 chœur 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 chœur 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, October 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 ovation … this was superb music-making, and it wasn’t surprising to see the audience on its feet.”

Steven Mazey, Ottawa Citizen,  August 2008

Toronto Summer Music Festival, “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 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. 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. ”

Ken Winters, Toronto Globe and Mail,  July 2008

CHARPENTIER/RAMEAU | Actéon and Pygmalion| Opera Atelier/Schola Cantorum/Theatre of Early Music

“The University of Toronto’s Schola Cantorum joined by members of the Choir of the Theatre of Early Music, all under the direction of Daniel Taylor, send the music heavenwards, Ainsworth’s bright, coloratura in the lead. The effect is utterly mesmerizing.” — Ian Ritchie, Opera Going Toronto

CD Reviews

Daniel Taylor et TEM - The Voice of Bach

“The Bach album of choice...His voice is rich, smooth, and lyrical, and it is deployed to maximum effect in music that seems to reflect the almost sensuous approach Bach took to the depiction of religious contentment. a meditative mood that is intensified by his singing. The overall effect is lovely and increasingly hypnotic as you listen longer. This majorlabel release is something of a milestone for Canada’s enthusiastic contingent of Baroque performers, who have accumulated technical skills but not always the nerve to break out of conventional ways of doing things. Taylor and his cohorts here are fresh and technically facile in equal measure. Beautifully recorded, and strongly recommended. ”

Allmusic, July 2009

“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, June 2009

“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.These performers certainly know their business, a fact that is abundantly clear on this highly polished release.”

Lorin Wilkerson, North West Reverb May 2009

 “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, October 2008

“Daniel Taylor’s moving exploration transcends the more generic approach and is 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

The Vale of Tears

Theater of Early Music

"It’s clear that Daniel Taylor adores the human voice. He has meticulously chosen the singers he works with and shepherds these talents with sensitivity and a deep understanding of the music. This vale of tears turns into a river that flows forth, nearly a century later, into Bach’s Cantata BWV 165. This baptismal cantata ends in a chorale of limpidity and purity. This must be the finest performance of this stand-alone work by the great composer. Soul-uplifting and essential."

             La Scena Musicale