reviews

" Soloists Julia Turner Cooke, Thomas Trotter and Ryan Taylor turned in riveting performances. But it was Taylor, the baritone, who seemed to bring the most to the performance; his voice has a clear, bold timbre that gives it an otherworldly, almost angelic quality.”

Anchorage Daily News (Carmina Burana, Anchorage Symphony Orchestra 2007)

" Of the singers, the standouts were mezzo Adriana Zabala and baritone Ryan Taylor, both sonorous and richly expressive.”

Dallas Morning News (generation m: modern masters from the mid-century to the moment, Arts & Letters Live 2007)

"Baritone Ryan Taylor powerfully delivered “The Train,” an engaging farewell set as almost a café love song."

Atlanta Journal-Constitution (Holocaust Cantata, Michael O’Neal Singers 2006)

"Mr. Taylor’s rich voice was well placed and commanding. Like Mr. Scully, his soft tones and inflections gently carried into the audience."

Mount Desert Islander (La Bohéme, Bar Harbor Music Festival 2005)

"As the royal servant Dandini, baritone Ryan Taylor brought excellent agility to the bravura ornamentation, and he poured out plenty of rich sound."

San Antonio Express-News (La Cenerentola, Lyric Opera of San Antonio)

"Baritone Ryan Taylor sang Sharpless with a well-schooled lyric tone and winning style."

Opera News (Madame Butterfly, Minnesota Opera 2004)

"Ryan Taylor offered a refreshingly realistic, almost “method” take on the character, making a welcome case that there is such a thing as a complex, empathetic American."

Pioneer Press (Madame Butterfly, Minnesota Opera 2004)

"Baritone Ryan Taylor, as the prescient but ineffectual Sharpless endows his role with unaccustomed depth."

Star Tribune (Madame Butterfly, Minnesota Opera 2004)

"Still, even as sweetly lyrical baritone Ryan Taylor made his way, dryly, through Bellini’s ‘Torna, vezzosa Fillide,’ one sensed the risk, the adventure of it all."

Atlanta Journal-Constitution ("Our Love is Here to Stay", Southeastern Festival of Song 2004)

"There is palpable passion in the on-again-off-again coupling of the painter Marcello (performed by baritone Ryan Taylor) and the coquettish Musetta (soprano Shana Blake Hill)."

Dayton Daily News (La Bohéme, Dayton Opera 2003)

"Taylor gave lustrous intensity to the cycles’ more gripping moments."

Washington Post (Italienisches Liederbuch, Wolf Trap Discovery Series 2003)

"Ryan Taylor sang Dandini, a complex role, with aplomb. He went to the comic essence of the character with ready ease."

Seattle Post-Intelligencer (La Cenerentola, Seattle Opera 2002)

"Vibrant, sturdy vocalism came from baritone Ryan Taylor as the Maestro."

Opera News (Viva la mamma, Wolf Trap Opera 2001)

"Ryan Taylor nearly steals the show as Figaro. He has a rich, plummy baritone and a way with coloratura. His commanding stage presence and devilish sense of humor make him a delight to watch."

St. Paul Pioneer Press (Il Barbiere di Siviglia, 2001)

"Mr. Taylor’s baritone work was richly colored and flawlessly controlled."

Nevada Events (Carmina Burana, 2000)

"Ryan Taylor has excellent technique and good control, showing no strain on high notes. Although he carries himself well and has strong stage presence, his Escamillo is not pompous. Instead he comes across as an initially modest but gifted man who has become comfortable with his fame without losing his nice-guy aura. It’s a fine line that Taylor negotiates successfully."

OperaGlass (Carmen, 1999)