“Enoch zu Guttenberg knew what was important.  His evangelist was a wonderful, lyric, compelling story teller, (James Taylor was poignantly prepared…)”

— Joachim Kaiser, Süddeutsche Zeitung 18.03.97 (Vienna Musikverein - Matthew Passion)

“...Taylor is a grandiose actor, who however, did not resort to excessive gesticulation, rather he simply sang.  This Evangelist did not just comment on the action; what he has to tell, he sees with inner eyes, and in recalling what he witnessed, he cannot hide his emotions.  James Taylor...bedazzles with his [Christ’s] swan-song, laments his indignity, his pity, his helplessness.  He sings with a hundred voices, but the most moving is that of quiet despair: when he speaks of mourning and death, when Bach composes delicate chromatic, high passages, when Taylor’s voice, becoming soft and tender, effortlessly begins to float.” 

— Clemens Prokop, Süddeutsche Zeitung, April 14, 1998 (Munich Gasteig - Matthew Passion)

“But for the most part he sang beautifully and expressively. In a role that is often given to stentorian, reedy-sounding, merely serviceable tenors, Mr. Taylor showed a sweetness of tone that added greatly to the poignancy of subdued moments.”

— James Oestreich (Carnegie Hall - Matthew Passion)

“The American tenor James Taylor brought his sweet, light yet penetrating voice to the role of the Evangelist.”

— - Tomassini, March 2008 (Avery Fischer Hall - Matthew Passion)

“The Evangelist was the number-one Bach Evangelist in the world today: James Taylor, a tenor from Houston. He is the "Sweet Baby James" of the classical world. His singing is almost impossibly fresh, lovely — and accurate. It is also extraordinarily easy. Mr. Taylor goes for a high note like other people reach for a grape. And he has a thorough understanding of what he is doing. He can put some vinegar in his voice, when he needs to. And his diction is very, very clear. As I've noted in reviews past, Mr. Taylor is almost eerily perfect. He had many outstanding moments on Wednesday night, and I will cite just one: the moment when the Evangelist is describing the darkening of the world, in the middle of the day. This was surpassing.”

— Jay Nordlinger, The Sun, March 21, 2008 (Avery Fischer Hall - Matthew Passion)

“By contrast, today's Evangelists can all too often sound homogenous and bland. Happily, Mr. Masur's Evangelist this month, American tenor James Taylor, has a lilting, dramatically communicative approach to Bach, many of whose works he has recorded for Hänssler Classics.”

— Benjamin Ivry, The New York Sun, March 18, 2008 (Avery Fischer - Matthew Passion)

“For this occasion the worthy ensemble will lead with one of the best Evangelists of our time, James Taylor.”

— münchenmusik (Prinzregenten Theater, Munich - St. John Passion)

“James Taylor is a compelling Evangelist [Christmas Oratorio] as advocate, commentator and, generally, all-embracing dramatis persona.”

— Johnathan Freeman, Gramaphone, 2014 (Christmas Oratorio Recording)

“Tenor James Taylor, as Jephtha, was the vocal and dramatic wonder. Taylor’s is a brilliant, ringing tenor, guided by a powerful technique that switches from sword-edge bright to prayer soft in a single phrase.”

— ” The Register-Guard (Oregon Bach Festival - Jephtha)

“A good lyric tenor such as James Taylor is very, very rarely heard. His extremely soulful usage of the head voice is a class of its own.”

— Volker Buschmann, Westdeutsche Zeitung 15.11.00 (Dûsseldorf - B-minor Mass)

“James Taylor’s tenor avoided every “exaggeration” , his vowels were clear, his legato flowed effortlessly.”

— Christoph Vratz, Rheinische Post 15.11.00 (Düsseldorf - B-minor Mass)

“All of the soloists offered fine work. But James Taylor was a cut above the rest, with his a clear top and deeply moving and intensive pianissimo.” 

— Miriam Stumpfe, Süddeutsche Zeitung, 19.01.99 (Munich - Messiah)

“Of course, not to be forgotten, was James Taylor as the pious Obadjah.  All this tenor needs is a short recitative, a still moment, to leave a long lasting impression.  Taylor whispered “Siehe, er (Elisas) schläft” and the entire Beethovensaal was suddenly on the edge of their seats.”

— Stuttgarter Zeitung, 11.01.99 (Stuttgart - Elijah)

“A flawless solo-trio contributed to the overall success of the evening…carried by the intelligent phrasing of tenor, James Taylor.”

— Gerhard Kramer, Die Presse 31.03.98 (Vienna Boy Choir - The Seasons)