Countertenor Darryl Taylor is renowned for his captivating performances and exceptional vocal talent. Getting his start in gospel music, Taylor initially envisioned himself as an R&B singer. However, his trajectory shifted in college when he immersed himself in Western classical music, discovering his potential as a high lyric tenor and venturing into opera. This significant shift allowed Taylor to explore a new realm of musical expression, setting the stage for a remarkable career in classical music.
As his voice matured, Taylor transitioned to the countertenor range, finding it better suited to showcase his unique abilities. While exploring the countertenor repertoire, he realized that to truly highlight his vocal strengths, he needed pieces composed specifically for his voice. This led to collaborations with contemporary composers, allowing Taylor to push the boundaries of classical music.
“My passions lie in creating new works and working with composers,” said Taylor. “Working together we could set a different goal, a different bar for what was possible.”
Taylor’s collaboration with the Wisconsin Chamber Orchestra stemmed from his performance at the Hear Now Music Festival in Los Angeles, where his work with contemporary compositions caught the attention of the orchestra.
On July 3, Taylor’s performance with the Wisconsin Chamber Orchestra presented pieces that held significant meaning to him. As part of the Fanfare on the Square program, Taylor performed the well-known aria “Ombra mai fu” from Handel’s opera “Serse” and the movement “The Lighthouse Keeper” from Victoria Kelly’s “Requiem,” based on the poetry of Sam Hunt.
Preparing for this performance had its unique challenges for Taylor. “Performing outdoors means there are no walls to reflect the sound, so we have to ensure that everyone can hear me and that I can hear the orchestra,” said Taylor. “Normally, if I were preparing an opera role, I have a sense of the size of the hall, the size of the orchestra, and therefore, what I’m going to need for projection. Because this performance is happening outdoors, it’s not as clear cut.”
To interpret and deliver the emotions of the pieces he performs, Taylor spends considerable time studying the text. “The best thing you can do as a performer, honestly, is have people leave with the sense that those were your original thoughts,” explained Taylor. “That’s what I aim for. To get connected enough to the text that when I put it across, it doesn’t sound like a recitation. It doesn’t sound like I’m just saying words on a page.”
Taylor’s ultimate goal is to leave a profound impact on his audience. “I want the audience to be moved. I want their lives to be changed. I want someone to walk away with the sense that this was time well spent in the scope of not just of their evening, but in the scope of their lives,” said Taylor.
Beyond his performance with the Wisconsin Chamber Orchestra, Taylor has several exciting projects coming up. He is set to release two recordings of essential repertoire by African American composers, titled “Dear Friends and Gentle Hearts,” in collaboration with Louise Toppin. Additionally, he will be featured in an oratorio recording at the Mormon Tabernacle, “Christus” by Deon Nielsen Price.
Taylor is also being honored by the National Association of Negro Musicians for his advocacy for underrepresented and marginalized composers. Taylor’s work with the African American Art Song Alliance, an organization he has been involved with since 1997, has been instrumental in bringing attention to the works of African American composers and ensuring their rightful place in the classical music repertoire.
