“…the smoothly eloquent baritone Michael Kelly…The fine tenor was Thomas Cooley. With excellent French he infused these youthful and sensuous pieces with imagination and color.” — Read more at American Record Guide
“Stubbs led a historically informed rendition, devoid of the bloated and vibrato-enhanced practices of the past. Phrasing, dynamics, and musical nuances were clearly crafted…Stubbs led a reduced-size Houston Symphony ensemble, which played cleanly and alertly, adroitly adjusting their speed and volume as directed…Thomas Cooley showed a strong voice that was most expressive in four consecutive […]
“In a vigorous and absorbing performance of this 1747 work by Philharmonia Baroque, the musical special effects kept coming Friday, December 2, at the First United Methodist Church in Palo Alto.” — Read more at San Francisco Classical Voice.
“…under McGegan’s inspired direction, the performance emerged as one of the period instrument ensemble’s finest offerings in recent memory…for sheer Baroque splendor, the evening’s standout was Yulia Van Doren…Tenor Thomas Cooley was an ideal Joshua — firm-voiced, secure throughout his range, and precise in the demands of Handel’s vocal writing.” — Read more at The […]
“The evening’s finest vocal moments were delivered by MOB’s reigning house tenor Thomas Cooley, who sang with sweet tone, vibrant engagement, and superb Baroque style. He brought a wide range of expressive coloring to his recitatives and arias, including two soprano items (“Softly sweet, in Lydian measures” and “War, he sung, is toil and trouble”) reassigned to […]
“The role of Idomeneo sung by Thomas Cooley was brilliant, especially since several of his arias are easily some of the most challenging in the tenor repertoire. His physical stamina, coupled with his masterful musicianship allowed for an impressive delivery, especially in some challenging melismatic passages. It was an impressive accomplishment…Meg Bragle sang the role […]
“On Thursday at Strathmore, Nicholas McGegan led the Baltimore Symphony Orchestra in a performance that was, like the work, both hybrid and personal, with a sense of the homemade, the intimate, the human, and the transcendent, particularly in the inspired playing of the reduced but ardent orchestra.” – Read more at washingtonpost.com.
“Tenor Thomas Cooley brought the first shadings of darkness and potential consolation to the stage. Singing over the murmurous strings, he shaded lines about “distresses” and “deep afflictions” with an amber mournfulness…Soprano Dominque Labelle joined the excitement part way through, her voice rising in lustrous and urgent descant…From the first, swaggering entrance of the trombones […]
“In a performance of remarkable power and tonal beauty, McGegan and his crew of musicians — including the excellent Philharmonia Chorale and a lineup of first-rate vocal soloists — unveiled an expansive and eloquent masterpiece, one that belongs by rights on the repertoire list of every orchestra in the country…the finest contributions came from soprano […]