“Thomas Cooley brought the greasepaint sensibility most pungently in his animated ‘A thousand, thousand ways we’ll find’ with the chorus. “Soprano Sherezade Panthaki handled the hushed dynamics and high tessitura of ‘See, even Night herself’ with ease…” —Read more at Chicago Classical Review
“Most impressive was tenor Thomas Cooley’s Evangelist, delivering secco recitatives with alert vibrancy and lyrical arias with ringing tone and dramatic urgency. He was riveting in the tortuous aria “Ich will nur dir zu Ehren leben”…Yulia Van Doren’s warm, focused soprano was used to charming effect in the “Echo aria” (“Flosst, mein Heiland, flosst dein […]
“Thomas Cooley shone especially well in his part, exhibiting a range of emotions demanded by Owen’s text, his bright tenor voice capturing poignant lyricism, pathos or declamatory characteristic as needed.” – Read more at Arts ATL
“Santon-Jeffery and Cooley were also among the prime attractions, along with alto Avery Amereau and bass Hadleigh Adams, in the magnificent account of the Beethoven Mass that occupied the first half of the evening…McGegan oversaw the proceedings with a blend of fervor and tenderness.” — Read more at San Francisco Chronicle
“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 […]