The Daughter of the Regiment, 2018 (Opera della Luna at Buxton International Festival)
‘……some brilliant silent routines by Robert Gildon as upmarket butler/chauffeur Hortensius, invaluable foil to Katharine Taylor-Jones’ flawlessly manicured Marsha Berkenfield – the socialite who turns out to be Marie’s long-lost mother’. (The Stage).
‘Glammed up in primary hues and polka dots, Taylor-Jones steers clear of caricature and uses her beautifully soft and sweet contralto to show us Marsha’s scruples and sincerity. (Opera Today).
‘The roles of Sulpice (Charles Johnston) and Marsha (Katharine Taylor-Jones) are character studies above all, but very finely done (and sung) here’ (Manchester Theatre Awards).
The Queen’s Lace Handkerchief, 2017 (Opera della Luna, Wilton’s Hall, London):
“…Katharine Taylor-Jones as the Marchioness sings with fruity richness” (Blanch Marvin, London Theatre Reviews)
‘…..knowing theatricality was supplied by Katharine Taylor-Jones as the redoubtable Marchioness”. (Opera Magazine)
‘It is impossible not to warm to the savoir faire of Charles Johnston’s preposterous Prime Minister, Katharine Taylor-Jones’ glamorously knowing Marchioness and Nicholas Ransley’s expertly sung Don Sancho’ (The Stage)
‘Katharine Taylor-Jones is acetic as his wife’ (The Spectator)
‘Katharine Taylor-Jones was a wise and stable presence as The Marchioness’. (Opera Today)
Orpheus in The Underworld, 2015 (Opera della Luna, Iford Festival & The Lowry, Salford Quays)
‘I particularly enjoyed Katharine Taylor-Jones’s Public Opinion, libellously presented in the guise of a pontificating assessor from the Arts Council with boxes to tick and forms to fill.’ Rupert Christiansen (The Telegraph)
The Daughter of the Regiment, 2014 (Opera della Luna, Iford Festival & Stowe)
‘… as impressive was Katharine Taylor Jones’ Marsha Berkenfield, a statuesque figure wearing the vintage dresses with assurance and poise, her warm mezzo voice supple through the range.’ (Opera Today)
‘His mistress, the redoubtable Marsha Berkenfield, is Katharine Taylor-Jones, who manages to tread a balance between outer fabulousness and inner vulnerability, making Miss Berkenfield both interesting and human (instead of snotty and irritating, as she can sometimes be). Taylor-Jones gets the very best of the excellent costumes…’ (Bachtrack Ltd)
Die Heimkehr aus der Fremde, 2010 (Ryedale Festival)
‘Kathy Taylor-Jones was touching as Frau Schulz’. Die Heimkehr aus der Fremde (The Independent on Sunday)
‘There was very attractive singing from Kathy Taylor-Jones’. (Yorkshire Post)
Elgar’s Sea Pictures, Somerset, 2008
‘Kathy Taylor–Jones …performed with enormous confidence….Her diction was excellent… She has a wonderful voice, which has great depth, and this was a highlight for me, not only of the evening, but of the whole season of concerts.’ (Mid-Somerset Newspapers)