Panthaki “handled high tessitura with ease” and Cooley’s “greasepaint sensibility”

Posted on May 14, 2019 in Reviews, Sherezade Panthaki, Thomas Cooley | No Comments
Panthaki “handled high tessitura with ease” and Cooley’s “greasepaint sensibility”

“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

Cooley and Van Doren perform Bach’s “Christmas Oratorio” with MOB

Posted on Nov 26, 2018 in Thomas Cooley, Yulia Van Doren | No Comments
Cooley and Van Doren perform Bach’s “Christmas Oratorio” with MOB

“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 […]

Cooley’s “bright tenor voice” with Atlanta Symphony

Posted on Oct 26, 2018 in Reviews, Thomas Cooley | No Comments
Cooley’s “bright tenor voice” with Atlanta Symphony

“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

Cooley, Adams join McGegan and PBO for season finale

Cooley, Adams join McGegan and PBO for season finale

“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

Cooley’s “dramatic intensity” with Boston Baroque

Posted on Mar 4, 2018 in News, Reviews, Thomas Cooley | No Comments
Cooley’s “dramatic intensity” with Boston Baroque

“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.

Cooley’s “affecting” performances at Carmel Bach Festival

Posted on Jul 26, 2017 in Reviews, Thomas Cooley | No Comments
Cooley’s “affecting” performances at Carmel Bach Festival

“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.

Bragle, Cooley, and Taylor in May Festival finale

Posted on May 28, 2017 in Daniel Taylor, Meg Bragle, Reviews, Thomas Cooley | No Comments
Bragle, Cooley, and Taylor in May Festival finale

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 […]

Cooley’s “immense personality and joy”

Posted on May 20, 2017 in Reviews, Thomas Cooley | No Comments
Cooley’s “immense personality and joy”

“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.

Cooley’s “Day of Judgement” with Music of the Baroque

Posted on May 16, 2017 in Reviews, Thomas Cooley | No Comments
Cooley’s “Day of Judgement” with Music of the Baroque

“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.

Cooley featured in NY Times’ “This Week’s 8 Best Classical Music Moments”

Posted on Mar 31, 2017 in Reviews, Thomas Cooley | No Comments
Cooley featured in NY Times’ “This Week’s 8 Best Classical Music Moments”

“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 […]