Opera
Armida || Moses und Aron || X (The Life and Times of Malcolm X) ||
Under the Double Moon || The Death of Klinghoffer
Theater
Jesus Christ Superstar || Evita || Sweet Charity || Stand Up Shakespeare
Pops / Concerts
Thomas Young Sings Cole Porter || Three Mo' Tenors
Recordings
Reviews
Various
Reviews
OPERA
"As Rinaldo, love torn warrior of the Crusades, Young shone brightly, balancing intensity and vulnerability, projecting a character by turns powerful and poignant."
- Rosalyn M. Story, Opera News
"Young cut a blunt, almost bulldoggish figure as Rinaldo. It was easy to see him as a reckless, fearless man of war."
- The Tulsa Tribune
"Weidinger's love duets with Thomas Young, in the role of Rinaldo, proved to be the evening's musical highlight. Her piercing, startlingly clear singing beautifully complemented Young's tenor voice which has an unusually warm, deep quality, especially evident in a cast that included six outstanding tenors. (. . .) Young's acting skills also deserve praise. They gave depth and believability to Rinaldo's Cuomo-like inability to make up his mind."
- The Tulsa Classified
“Young has that talent rare in opera of standing still and forcing you to glue your eyes to him all the while.”
- NDR
"The much more demanding role of Aaron, who must sing a great deal and in an impenetrable tessitura, was performed by Thomas Young. . .a tenor with absolute artistic discipline and perfect intonation -- which in this kind of opera is just short of miraculous."
- Corriere Della Sera
"Thomas Young as Aaron displayed a beautiful, broadly melodious voice."
- Il Gazzettino
"Thomas Young, as the smoother and more manipulative partner, handled Aron's 12-tone variety of lyricism persuasively and put the debate in a larger perspective by his sympathetic portrayal of Aaron's philosophical rationale."
- Donal Renahan, The New York Times
"Uncommonly effective in the demanding role of Aaron, tenor Thomas Young stood out in particular, displaying assured vocal technique and dramatic emotional presence."
- La Nazione
"Tenor Thomas Young is just the opposite; mobile, restless, aggressive in a role that borders on madness, portraying impulsively the drama of he who wants the word of God manifested in concrete form, revealed in the movement of an action."
- La Stampa
"Thomas Young's Aaron was incisive, clever, persuasive, and steady and clear through all the range. . .he comes closer to lyricism than did Helmut Krebs, the first Aaron, and any other Aaron that I have heard."
- Andrew Porter, The New Yorker
"The two protagonists are consistently impressive: Thomas Young, as a firm, assured, and mellifluous Aaron. . ."
- Peter G. Davis, New York
"Thomas Young brilliantly negotiated Aaron's high tessitura."
- Tim Page, Newsday
"Tenor, Thomas Young, gave a mesmerizingly unctuous portrayal of the glib Aaron, singing his cruelly high (and sometimes almost endless) melismatic lines with remarkable ease."
- Bill Zakariasen, The Daily News
". . .Thomas Young responded to his relentless bickering with a piercingly effective high tenor voice. . ."
- Manuela Hoelterhoff, The Wall Street Journal
"Thomas Young sang the difficult, shaded tenor title role with a security that gives the part depth."
- Daniel Webster, Philadelphia Inquirer
". . .outstanding voice, superb German diction which projected in the theater and genuine acting ability. . .Young sang Schoenberg's melodies with a stream of golden 'bel Canto' tones."
- Raoul Abdul, The New York Amsterdam News
". . .Thomas Young was entirely convincing and vocally apt."
- Josiah Fisk, Boston Sunday Herald
"Uncommonly effective in the demanding role of Aaron, tenor Thomas Young stood out in particular, displaying assured vocal technique and dramatic emotional presence."
- La Nazione
X (The Life and Times of Malcolm X)
"...Tenor Thomas Young, in the dual role of Street and Elijah, was absolutely riveting -- vocally resplendent and texturally incisive."
- Anthony Tommasini, The Boston Globe
"The major purpose the production serves is to showcase some significant black talent, especially Thomas Young, whose marvelous high tenor and extraordinary breath control have apparently been employed in Baroque music, where they would I think be very effective, as well as in works written for just this particular high-pitched, tense, musical sound. . .Young is also a superb actor, both as the sportin' man in Act 1 and as Elijah Muhammed, found of the Black Muslims, in the other acts."
- Opera, December 1986
"Young has a powerful, piercing tenor, with very clear articulation. As Street, the Boston hustler showing Malcolm how to be cool, he provided the only comic touch. As Elijah, still and impenetrable, he is a dark balance to Malcolm's volatile eloquence."
- Peter Goodman, New York Newsday
"Thomas Young's oily Street and his menacing Elijah Muhammad mark him as one of the great unheralded performers of our time."
- Allan Ulrich, San Francisco Examiner
"Thomas Young gave a brilliantly chameleonic performance, both as Street, a jiving hustler in the Sportin' Life mold, and as the politically shrewd and ruthless Elijah Muhammad."
- Donal Henahan, New York Times
"Thomas Young, the Street and Elijah, made every word tell, added incisiveness of inflection to clear pronunciation, hit words and notes precisely, and didn't break character in either role."
- Andrew Porter, The New Yorker
"And Thomas Young, that phenomenal tenor from X (he was Elijah Muhammad), commanded the stage as the Inspector even when not singing. But when he sang his taxing role, with its many high C's and a few beyond that, there was electricity all around."
- Leighton Kerner, Village Voice
"Thomas Young. . .was absolutely riveting - vocally resplendent and textually incisive."
- Anthony Tommasini, Boston Globe
"Young's wonderful stage presence, ringing tenor and sensational acting dominated the stage. Every detail of his performance shone with star quality."
- Hewell Tircuit, San Francisco Chronicle
"Best of all was tenor Thomas Young, who was beyond praise as the smoothly malevolent Inspector and who hit all of Davis' notes firmly, accurately and musically."
- Tim Page, New York Newsday
". . .and the truly phenomenal high tenor Thomas Young, did the composer proud."
- Bill Zakariasen, New York Daily News
"A dual role, revealed the brilliant talents of Thomas Young, a performer who can sing, act and move with stunning virtuosity."
- Michael Sommers, Back Stage
"Thomas Young is exceptional."
- Peter G. Davis, New York Magazine
"Thomas Young, as the demonic Desportes, displayed his increasingly familiar agility and power, presenting a sly officer plotting his conquests."
- Edward Rothstein, The New York Times
"Young's high, wordless seduction scene duet was a highlight."
- New York Native
"Thomas Young (Desportes) eminently deserved the bravos he received."
- New York Daily News
"Perry and Young were exceptionally vivid, expressive singers and gave the most delineated performances."
- Newark Star Ledger
"This Mathis der Mahler is blisteringly high octane stuff, forcefully sung by a cast headed by Thomas Young (the rebel Schwalb). . .a powerful and ultimately harrowing evening."
- Geoffrey Norris, Telegraph
"Thomas Young (Oedipus) was magnificent, singing with superbly focused and colored tone, clean coloratura, meaningful enunciation, and dignity of person."
- Richard Dyer, The Boston Globe
"As Johnathan Rumor and Molqi, Thomas Young sang with a tenor of such radiance that. . .(it) was episodically terrorized into becoming grand opera."
- Lawrence Mass, Opera Monthly
"Thomas Young (der Sanger) almost stole the show. . ."
- Antony Peattie, Opera Now
"The performance was of the utmost virtuosity. . ., beautifully sung by Thomas Young."
- Rodney Milnes, The London Times
". . .sang (Mahler's Das Lied von der Erde) with authority and dignity. His excellence was in pure singing - in a voice so hot and bright it seemed to scorch you."
- Paul Griffiths, The New York Times
"Young's intelligent, soaring and technically elegant singing honored Mahler."
- Lawrence B. Johnson, The Detroit News
THEATER
"Young is quicksilver on the Melody Top stage, flashing like gunpowder, then turning inward and wrestling with his conflicting emotions. His vocal range and ability to use it give the most delicate colorations to his character is truly spectacular. If the Melody Top was on Broadway, Thomas Young would deserve a Tony."
- Damien Jaques, Milwaukee Journal
"Young is stunning in the role of Judas, the tortured betrayer and focal point of "Superstar." How terrific to find a mature singer whose falsetto is choirboy-pure, and who moves like the lithest dancer in the line."
- Perry Stewart, Fort Worth Star-Telegram
"Che is the revolutionary conscience personified as narrator, Greek chorus, and righteous antagonist; and Young is quite wonderful --an electric presence whose splendid voice is also a marvel of clarity."
- Larry Swindell, Fort Worth Star-Telegram
"Thomas Young is a dynamic presence in the show. His fine tenor voice - arguably the best ever assigned to Che Guevara, Eva Peron's revolutionary alter ego - reminds us that this show is a rock opera."
- Perry Stewart, Fort Worth Star-Telegram
"Young's performance as Daddy Brubeck, an outrageous Bohemian/hippie evangelist, consists of one single scene. But what a scene. The soaring, rip-roaring "Rhythm of Life" is a number worthy of Young's belting tenor pipes."
- Perry Stewart, Fort Worth Star-Telegram
"Shakespeare's greatest ally in this venture is Thomas Young, whose glorious tenor voice could make any music sound ravishing."
- Howard Kissel, New York Daily News
"The man most real on stage was based on nobody: a theatrical device, a one-man chorus. Thomas Young moved like a holy Aztec bureaucrat; his voice could send chills up the spines of shades."
- Roderick Mason Faber, The Village Voice
"Most memorable of all is tenor Thomas Young, (is) possessed of one of the most exquisite voices I've ever heard. The music seems to well up in some cavernous place within him, then float effortlessly forth - now in majestic torrents now in a feather-light, impossibly clear upper register."
- Pamela Sommers, The Washington Post
"Mr. Young, who also sings opera. . . , effortlessly operates on two sides of the musical fence, with low-down jazz and lilting balladry."
- Mel Gussow, The New York Times
"Miss Johnson is a solid vocalist, in whatever mood, and Mr. Young's high-C-manship would cause a sensation in Ilyriak not to mention Off Broadway."
-John Baufort, Christian Science Monitor
POPS / CONCERTS
Thomas Young Sings Cole Porter
"Thomas Young provided a model of diction in "Night and Day" "I've Got You Under My Skin" and "At Long Last Love," a way with words that suggested the late Mabel Mercer without that singer's vocal mannerisms."
- Charles Staff, Indianapolis News
"Then came song after song by Indiana's most-sung favorite son: 'Night and Day' and "I've Got You Under My Skin" with Thomas Young going from mellow to sizzle. . ."
- Sally Falk, Indianapolis Star
"Thomas Young mesmerized the audience with his wonderful, emotion-filled performance. From the first note, to his encore, Young had the audience spellbound."
- Mary Bradberry, Sarasota Herald-Tribune
"Onstage, (Young) has an authorative voice that commands respect and gets it."
- Zondra Hughes, Ebony Magazine
"Thomas Young...has a voice of piercing focus and a knowing sense that "style" means choosing from numerous possibilities. Three Mo Tenors is primarily (and rightly) a showcase for his phenomenal versatility."
- Lloyd Schwartz, Boston Phoenix, August 2001
"...and Thomas Young's "Twisted" whose humorous lyrics and theatrics cannot easily be painted and portrayed with words."
- Genevieve White, Michigan Journal, February 18, 2003
"...technically fluent with elegantly shaped phrasing, effortlessly delivered high notes and a natural flowing singing style."
- Willa J. Conrad, Star-Ledger, New Jersey
"...his (Young's) solo performances - "Send in the Clowns" to "Nessun Dorma" to Wardell Gray's "Twisted" were consistently the most subtly spun moments."
Willa J. Conrad, Star-Ledger, New Jersey
"Young was a standout, an extraordinary performer whose extensive credits include appearances with conductors such as Zubin Mehta, Esa Pekka-Salonen and Simon Rattle in opera repertoire ranging from Schoenberg to Hindemith to John Adams. He is one of those memserizing performers..."
- Wynne Delacoma, Chicago Sun-Times
"He sang "Nessun Dorma" with inward seriousness and purpose, "Send in the Clowns" with wry poignance and freshly imagined phrasing and his own arrangement of Wardell Gray's "Twisted" with astonishing scat - the evening's most devastating number."
- Wynne Delacoma, Chicago Sun-Times
"Thomas Young is one of America's best singers across the whole spectrum of music - from a ringing "Nessun Dorma" to "Twisted" which adds a vocal line requiring instrumental virtuousity to a set of lyrics that demands the tongue-knotting skills of a patter song. This was fabulous. (Young) is the show's unquestionable star."
- Richard Dyer, Boston Globe, March 1, 2002
"Young is a magical singer in every idiom and a supreme artist. He nailed "Nessun dorma" then went on to steal the show just about every time he opened his mouth - in "Send in the Clowns", in a stupefyingly brilliant jazz riff on "Twisted", in a sly "Oh Girl", in a stirring "America the Beautiful". He has technique, burnished tone, fantastic rhythm and musicianship, a wonderful acting face and depth of soul."
- Richard Dyer, Boston Globe, May 19, 2001
"...but then you haven't heard "America the Beautiful" until you've heard him(Young) sing it."
"Each tenor has a special forte. With Young, it's - well, everything. His utterly personal take on "Send in the Clowns" steals the show every time."
John von Rhein, Chicago Tribune, March 14, 2001
RECORDINGS
"He's extraordinary. Truly he is one of the most communicative of singers, expressing himself as if in personal conversation with the listener. Clarity of diction and beauty of voice combine with a charming simplicity and superb musicianship. . ."
- American Record Guide
"The most stunning and wide-ranging voice belongs to tenor Thomas Young, who is classically magisterial as Elijah after serving a rousing turn as the apt named hustler Street."
- CD Review
"But the dominant figure on the stage was Thomas Young, a tenor with a bright and seemingly tireless voice, who made a striking impression. . ."
- Herbert Kupferbert, Musical America
Various
"...and the guest tenor from New York, Thomas Young, in the role of Marco Polo, fascinated the audiences. ....the excellent Thomas Young was extremely praiseworthy."
- Biennale Chronicle, Zagreb (Marco Polo - Tan Dun)
"Thomas Young's stentorian yet supple tenor..."
Jed Distler, Classics Today (Bolcom's Songs of Innocence and Experience)
"With his sturdy-yet-honeyed lyric tenor, Young dove thrillingly into the part's treacherous waters."
T.J. Medrek, Boston Herald (Mahler's Das Lied von der Erde)
"...tenor Thomas Young delivered with thoughtful dedication and clear diction..."
"Young's inspired delivery of "Every Valley" was a highlight."
"...elegant, rounded sound, and a wonderfully warm sonority..."
Denver Post December 2004 (Handel's Messiah)
"Most memorable of all is tenor Thomas Young, (he is) possessed of one of the most exquisite voices I've ever heard. The music seems to well up in some cavernous place within him, then float effortlessly forth - now in majestic torrents, now in a feather-light, impossibly clear upper register."
The Washington Post
"Young's wonderful stage presence, ringing tenor and sensational acting dominated the stage. Every detail of his performance shone with star quality."
The San Francisco Chronicle
"The much more demanding role...was performed by Thomas Young...a tenor with absolute artistic discipline and perfect intonation which in this kind of opera is just short of miraculous."
Corriere della Sera
"Thomas Young (Oedipus) was magnificent, singing with superbly focused and colored tone, clean coloratura, meaningful enunciation, and dignity of person."
Richard Dyer - The Boston Globe
"...sang (Mahler's Das Lied von der Erde) with authority and dignity. His excellence was in pure singing - in a voice so hot and bright it seemed to scorch you."
Paul Griffiths - The New York Times
"Thomas Young's oily Street and his menacing Elijah Muhammed mark him as one of the great unheralded performers of our time."
Allan Ulrich - San Francisco Examiner, (Anthony Davis: The Life and Times of Malcolm X)
"He's extraordinary. Truly, he is one of the most communicative of singers, expressing himself as if in personal conversation with the listener. Clarity of diction and beauty of voice combine with a charming simplicity and superb musicianship...This is a disc to get and treasure."
American Record Guide, (Black Christmas - Spirituals in the African-American Tradition)
"He is striking and extremely lyrical. Powerful and deeply erotic with an unconditionally beautiful voice, Thomas Young is always singing with a soul touching - a real leading role in my opera, a perfect Polo in my mind."
Tan Dun, Composer of Marco Polo
