Lauded by The Guardian for her “dark and focused” voice, “sensational coloratura” and “spectacular singing,” and by The Times for her “fierce, indeed terrifying” portrayals, Beth Taylor is one of today’s most electrifying young mezzo-sopranos.
In 2025/26 she sings the title role in the final scene of Rossini’s Ermione with the Monteverdi Choir at London’s Cadogan Hall, joins Gustavo Dudamel and the Los Angeles Philharmonic for Mahler’s Second Symphony in Los Angeles and on tour to Asia, and returns to Carnegie Hall for Beethoven’s Ninth Symphony with the Orchestra of St. Luke’s under Raphaël Pichon, as well as to the Vienna Symphony at the Konzerthaus. Further highlights include Bach’s Mass in B minor and Mahler’s Eighth with the Berlin Philharmonic and Kirill Petrenko, Elgar’s Sea Pictures with the London Philharmonic, Elgar’s The Dream of Gerontius with the Yomiuri Nippon Symphony Orchestra, Mahler’s Eighth with the Orchestra of the Gran Teatre del Liceu, Berlioz’s Les Nuits d’Été with the Royal Danish Symphony Orchestra, Mahler’s Third with the Bergen Philharmonic, Das Lied von der Erde in Rouen, Tippett’s A Child of Our Time with the BBC Scottish Symphony Orchestra. Beth also appears with all of Munich’s leading symphonie orchestras within just a couple of months: the Bavarian Radio Symphony Orchestra in Mahler’s Second Symphony under Sir Simon Rattle, the Munich Philharmonic for The Dream of Gerontius, and the Munich Radio Orchestra in Karl Jenkins’s The Armed Man. At Wigmore Hall, she appears in recital with Hamish Brown. Opera performances include Speranza in L’Orfeo in Bilbao and a tour as Cornelia in Handel’s Giulio Cesare with Il pomo d’oro to major European cities including Vienna, Amsterdam, Paris, Madrid, and Barcelona.
She makes her debut at the Gran Teatre del Liceu.