“Thomas Cooley’s light and flexible delivery maintained a generally cool narrative tone, yet was capable of dramatic intensity when it came to describing Christ’s agonized prayer or Peter’s weeping acknowledgement of his triple denial.” — Read more at The Boston Music Intelligencer.
“The vocal quartet appeared in the cantata and also in Aaron Copland’s “Old American Songs,” one song each, finishing with the quartet coming together for the last song. Tenor Cooley’s interpretation of “Long Time Ago” was especially affecting.” — Read more at Monterey Herald.
Some of the most memorable moments were provided by the soloists. Mezzo-soprano Meg Bragle made a notable debut, the highlight being a ravishing duet in “Laudamus te” with violinist Kathryn Woolley, acting associate concertmaster….The gentle aria “Qui sedes” was beautifully phrased by the countertenor, Taylor…Chuchman’s duet with tenor Thomas Cooley in “Domine Deus” was a […]
“The Cincinnati May Festival kicked off its new era on Friday night with a galvanizing “Ode to Joy” led by Markus Stenz, the first of four guest conductors this year…The quartet of soloists did not disappoint…Tenor Thomas Cooley sang his aria with immense personality and joy.” — Read more at cincinnati.com.
“The Mocker, Faith, Disbelief, One of the Blessed — provide great opportunity for outsized portrayal, and Thomas Cooley made the most of them.” — Read more at The Chicago Tribune.
“The tenor Thomas Cooley opened with Britten’s setting of Michelangelo’s Sonnet XVI. So here was a tenor, using the extravagantly resonant acoustics of a National Gallery of Art domed courtyard, to pour phrases of molten quicksilver into notes dreamed up by a composer who, as a gift to his lover, had set to music a […]
“…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 […]