Intermusica Artists' Management

 

 

Intermusica represents Thomas Hobbs worldwide

Artist Manager:
Catherine Chan-Murphy

Assistant to Artist Manager:
Martha Hartman

Other Links:

Thomas Hobbs' website

Thomas Hobbs

Tenor

Thomas Hobbs is in demand with many leading baroque and early music ensembles, appearing throughout Europe and the US as a soloist in key works from the 16th, 17th and 18th centuries. Hobbs works frequently with, among others, Philippe Herreweghe and his acclaimed ensemble Collegium Vocale Gent and Raphaël Pichon and his Ensemble Pygmalion.

Recent concert performances include Evangelist in the Bach St Matthew Passion and St John Passion with the Choir of King’s College, Cambridge, Le Concert Lorrain and Ensemble Pygmalion, arias in the Passions with the Academy of Ancient Music, CVG and Ex Cathedra, Bach B minor Mass with CVG, Le Concert Lorrain, Akademie für Alte Musik Berlin, Bach Akademie Stuttgart and the Freiburg Bachchor, Bach Magnificant with De Nederlandse Bachverenigning, Bach Ascension Oratorio with CVG, Bach Christmas Oratorio with the Australian Chamber Orchestra, title role in Handel Joshua with the Akademie für Alte Musik and RIAS Kammerchor, Handel Israel in Egypt with the Choir of King’s College, Cambridge, Handel Messiah Le Concert Lorrain, Mozart Requiem with Dunedin Consort and Beethoven Mass in C with Stuttgart Kammerchor. Hobbs has also made debuts with the Northern Sinfonia, City of Birmingham Symphony, Royal Scottish National and Bournemouth Symphony orchestras and with renowned period ensemble Accademia Bizantina under Ottavio Dantone.

Hobbs’s operatic roles include a critically acclaimed Telemachus The Return of Ulysses in a new production for English National Opera conducted by Jonathan, Apollo and Shepherd in Monteverdi’s Orfeo in semi-staged performances with Richard Egarr and the AAM, the title role in Albert Herring and Ferrando Così fan tutte. A keen recitalist, highlights include Brett Dean Winter Songs at the Cheltenham Festival, Vaughan Williams On Wenlock Edge with the Edinburgh Quartet, Schubert Die Schöne Müllerin and Schumann Liederkreis Op.39, a recital of Mozart songs at London’s Kings Place, a recital of English song and German lieder for the Festival Accademia delle Crete Senesi in Tuscany, and, most recently, Wolf songs at the Oxford Lieder Festival and a recital at the Ryedale Festival with Christopher Glynn.

Hobbs’ ever expanding discography includes Bach B minor Mass with CVG and Dunedin Consort, Bach Motets, Leipzig cantatas and Christmas Oratorio with CVG, Handel Acis et Galatea and Esther with Dunedin Consort and Beethoven Mass in C with Stuttgart Kammerchor. His most recent recordings of Handel Chandos Anthems with Stephen Layton and the Orchestra of the Age of Enlightenment and Mozart Requiem with John Butt and the Dunedin Consort have been universally praised, with the latter receiving the 2014 Gramaphone Award for best Choral recording.

Current and future engagements include further tours with Collegium Vocale; Damon Acis and Galatea with Dunedin Consort, Bach cantatas with De Nederlandse Bachverenigning and Ensemble Pygmalion, Bach Christmas Oratorio with the Tonkünstler-Orchester Niederösterreich, Tonhalle Orchester Zürich and Le Concert Lorrain.

Born in Exeter, Thomas Hobbs studied at the Royal College of Music under the tutelage of Neil Mackie, where he was awarded the RCM Peter Pears and Mason scholarships, and at the Royal Academy of Music under Ryland Davies, where he held a Kohn Bach Scholarship in addition to a full entrance scholarship. He was also awarded a Susan Chilcott Scholarship, has been made a Royal Philharmonic Society Young Artist and was an Associate Artist of the Classical Opera Company. He was also a member of the prestigous Académie at the Aix-en-Provence Festival, where he performed in concert with Louis Langrée and the Camerata Salzburg.

Thomas Hobbs is represented worldwide by Intermusica.
August 2014 / 770 words. Not to be altered without permission. Please destroy all previous biographical material.

Opera Repertoire
Concert Repertoire
Recital Repertoire


Opera Repertoire

HANDEL
Damon Acis and Galatea
HAYDN
Fileno La Fedelta Premiata
MOZART
Don Ottavio Don Giovanni
Ferrando Cosi fan tutte
ROSSINI
Alberto L'occasione fa il ladro
Ramiro La Cenerentola
Count Almaviva Il barbiere di Siviglia

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Concert Repertoire

BACH, J.S.
St Mark Passion
Mass in B Minor
St John Passion
Magnificat
Mass in G Minor
Christmas Oratorio
Cantatas 21, 78, 201, 97, 105, 140, 11, 8, 125 & 159
BACH, C.P.E.
Magnificat
BEETHOVEN
Choral Symphony
BERLIOZ
Te Deum
BRUCKNER
Mass in F
CHARPENTIER
Te Deum
Messe de Minuit
DVORAK
Stabat Mater
GOUNOD
Messe de St Caecile
HANDEL
Jeptha
Chandos Anthems
Messiah
Judas Maccabaeus
Samson
Israel in Egypt
Foundling Hospital Anthem
Sing Unto God
Dixit Dominus
HAYDN
Nelson Mass
Missa Cellensis
Paukenmesse
Creation
MENDELSSOHN
Elijah
Paulus
MONTEVERDI
Vespers
MOZART
Requiem
Mass in C Minor
Vespers
Missa Brevis in D
PURCELL
Dido and Aeneas
RACHMANINOV
Vespers
ROSSINI
Stabat Mater
SCHUBERT
Mass in G
SCHUTZ
Christmas Story
STAINER
The Crucifixion
STRAVINSKY
Pulcinella
VIVALDI
Magnificat
Dixit Dominus

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Recital Repertoire

BRITTEN
St Nicolas
Les Illuminations
Serenade
Rejoice in the Lamb
Canticles
War Requiem
Holy Sonnets of John Donne
Folk Song Arrangements
Winter Words
FINZI
A Young Man's Exhortation
Dies Natalis 
O Fair to See
MESSIAEN
La Mort du Nombre
SCHUBERT
Die Schöne Müllerin
SCHUMANN
Liederkreis, Op.39
WOLF
Morike Lieder

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Acis & Galatea / Dunedin Consort / St. John’s Kirk, Perth
“Hobbs's energetic delivery of Handel's melismatic "pleasure" was itself a pleasure”
Alan Coady, Bachtrack, September 2014

Bach Mass in B Minor / Collegium Vocale Gent / Usher Hall
Cond. Philippe Herreweghe

“…it was the contributions of soprano Dorothee Mields and English tenor Thomas Hobbs that I enjoyed most among the soloists, nowhere more so than when they came together in the Domine Deus duet of the Gloria.”
Keith Bruce, Herald, August 2014

Bach’s Cantatas BWV 44, 48, 73, 109 / CD: Leipzig Cantatas – Collegium Vocale Gent
Cond. Philippe Herreweghe

“Excellent soloists reflect their choral sensitivity, never assertive, but fluent, supple and admirably matched with accompanying instruments…Thomas Hobbs’s delight in it is palpable. “
George Pratt, BBC Music Magazine, September 2014

Trauermusik BWV 244a / Pygmalion Ensemble
Cond. Raphaël Pichon

“Le ténor Thomas Hobbs prend la relève : avec intelligence, il parvient à prolonger exactement le ton de celui qui le précède, favorisant la retenue vocale pour instaurer une dynamique spirituelle profonde.”

“The tenor Thomas Hobbs takes the helm: with intelligence, he managed to extend precisely the tone which preceeded, favouring vocal restraint to establish a deep spiritual dynamic.”
Peter Krause, Concerti, June 2014

St Matthew Passion / Academy of Ancient Music
Cond. Richard Egarr

“Tenor Thomas Hobbs showed great sensitivity and flexibility, singing with lovely lightness of touch in “Geduld, Geduld!”
Rosemary Carlton-Willis, Bachtrack, April 2014

Brazilian Baroque / Ex Cathedra
Cond. Jeffrey Skidmore

“All the vocal solos were appetising; the tenor Thomas Hobbs merits special mention for bringing an individuality nicely offset in an exquisite duet with his fellow-tenor Ashley Turnell.”
Church Times, March 2014

Mozart Requiem in D minor, K. 626, ‘Misericordias domini’ in D minor, K. 222 / CD: Linn Records
Cond. John Butt

“Mr. Hobbs sings with the finesse of the young Schreier and the golden tone of the mature Wunderlich, and he adorns the performance with a standard-setting account of the tenor part.”
Joseph Newsome, Voix des Arts, March 2014

Christmas Oratorio / Palais de Beaux-Arts, Brussels (2012) / CD: Euroarts
Cond. Phillipe Herreweghe

“The solo team is outstanding. Thomas Hobbs’ Evangelist, mellifluous and personable, also makes light work of the runs in ‘Frohe Hirten’.”
Paul Riley, BBC Music Magazine, January 2014

“Thomas Hobbs’s relaxed high melismatic passages form a flawless dialogue with Patrick Beuckels’s gentle flute obbligato in ‘Frohe Hirten, eilt, ach eilet’.”
David Vickers, Gramophone, January 2014

Christmas Oratorio / Choir of London & Australian Chamber Orchestra
Cond. Richard Tognetti

“Thomas Hobbs bound[ed] through passage-work with pinpoint accuracy…”
Clive O'Connell, Sydney Morning Herald, December 2013

Orfeo / Barbican Hall / Academy of Ancient Music
Orpha Phelan, Con. Richard Egarr

“The other standout singing came from the fresh-voiced tenor Thomas Hobbs as the "Godfather" Apollo. In particular, his closing duet with Ainsley in the last act was very moving. Is Hobbs a future Orfeo in the making?”
Nahoko Goton, One Stop Arts, October 2013

“…while tenor Thomas Hobbs was outstanding in a resonant trio of Shepherds.”
Michael Church, Independent, October 2013

“Thomas Hobbs, whose operatic repertoire already encompasses Britten and Rossini, as well as that explored by The Classical Opera Company, proved to be a charismatic stage presence as well as having a well-projected, warm and rounded tenor at his disposal. He was even able to make a clear distinction between his role as Orfeo’s best man and his appearance as Apollo, masquerading as a film noir detective in the last act. I expect great things in future from this budding star.”
Miranda Jackson, Opera Britannia, October 2013

Recital / Ryedale Festival 2013
“Hobbs launched bravely into Britten’s Winter Words, eight Thomas Hardy settings, probing nostalgia and lost innocence. He found the right tone of melancholy and was fully alive to the poetry... There was mystery, for example, in The Choirmaster’s Burial and pleasing irony in At the Railway Station, Upway.”
The York Post, July 2013

Handel: Chandos Anthems / Choir of Trinity College, Cambridge, Orchestra of the Age of Enlightenment, Layton / Hyperion (CD)
“Thomas Hobbs is a joy to behold in Handel’s diverse tenor solos, lyrical of voice and always able to project words with the ideal degree of weight.”
Sinfini Music, July 2013

“Thomas Hobbs is the stand-out soloist, his delightfully light and easy tenor perfect for this repertoire.”
Observer, July 2013

Priest of the Israelites in Handel Esther / Wigmore Hall
cond. John Butt / Dunedin Consort

“Handel was generous with some of the secondary roles, too, giving fine arias to… the First Israelite and the Israelite Boy – opportunities Thomas Hobbs…seized enthusiastically.”
George Hall, Guardian, April 2013

“For pure eloquence, the high tenor line of the First Israelite’s aria, “Tune your harps to cheerful strains” took some beating. Thomas Hobbs’ vocal line achieved a perfect legato against pizzicato strings and an obbligato oboe – he excelled again in his brief contribution to the central act.”
Colin Clarke, Seen and Heard International, April 2013

Bach Weihnachts-Oratorium / Alice Tully Hall, Lincoln Center, New York City and Symphony Hall, Montreal
Collegium Vocale / cond. Philippe Herreweghe

“…tenor Thomas Hobbs, who was a fine Evangelist”
James R. Oestreich, New York Times, December 2012

“Thomas Hobbs’ lyric tenor was particularly effective for the Evangelist, with natural declamation and high notes of honeyed delicacy.”
Scott Cantrell, Dallas News, December 2012

“Young English tenor Thomas Hobbs was the star of our solo quartet. He seems a natural narrator, with a way with words that tells the story with nuance and colour without drawing attention to anything unnecessarily. He doubtless makes a fine Evangelist in the Passions, yet his arias were also highlights here. “Frohe Hirten, eilt, ach eilet” combined a comforting mid-range with accurate runs and trills, whilst the final aria of the concert, “Nun mögt ihr stolzen Feinde schrecken” displayed his fine attention to both text and music alike.”
David Allen, Bach Track, December 2012

“…the best moments of the night came in two careful aria duets between musicians and soloists. Frohe Hirten danced wonderfully between tenor Thomas Hobbs and flutist Patrick Beuckels…”
Lev Bratishenko, The Montreal Gazette, December 2012

“But it is tenor Thomas Hobbs…who stole the show. The power and the color of [his] voice thrilled the audience and, when at last the audience were permitted to cheer, the applause exploded.”
Martin Prévost, pieuvre.ca, December 2012

“…tenor Thomas Hobbs made his presence felt with a dynamic Evangelist”
Caroline Rodgers, La Presse, December 2012

Handel Messiah / The Sage, Gateshead
Northern Sinfonia / cond. Matthew Halls

“...tenderness came out in some of the solos too, beginning with tenor Thomas Hobbs’ very moving “Comfort ye my people”, a performance that was full of compassion and expressiveness. I also enjoyed his “Thou shalt break them in pieces”, which was beautifully fluid. As the aria that immediately precedes the Hallelujah Chorus this is a tough moment for the soloist, who must hold the audience’s attention when they’re all waiting for the excitement that follows, and Hobbs carried it off with style”.
Jane Shuttleworth, Bach Track, December 2012

Evangelist in Bach Weihnachts-Oratorium / Palais des Beaux-Arts, Bruxelles
cond. Philippe Herreweghe

Thomas Hobbs made quite an impression: he is definitely a singer worth looking out for. He has a real talent for narrating, and sang with a disconcerting ease: it is quite possible that he will soon be on a par with the great Evangelists of the past. His voice sounded very natural, completely unaffected, which allowed the narrative to unfold seamlessly. He also avoided that unpleasant nasal tone which so many Evangelists seem to favour.
ForumOpera, December 2012

Recording: Bach Ach süßer Trost! Leipzig Cantatas (LPH006)
Collegium Vocale / cond. Philippe Herreweghe

“For me, the real surprise of the recording was the tenor Thomas Hobbs. As can be heard in his aria in BWV 105, ‘Kann ich nur Jesum mir zum Freunde machen‘, his pure tone, full of youthful ardour, and his assured technique are ideal for Bach.”
Andrew O’Connor, International Record Review, March 2013

“Of the soloists, tenor Thomas Hobbs is outstandingly expressive and vocally at ease…. this is Bach at his most inventive, in a sensitive and polished performance.”
George Pratt, BBC Music Magazine, January 2012

"…and the supple-voiced British tenor Thomas Hobbs also impresse[d]."
Richard Morrison, Times, December 2012

Bach B minor Mass / Rheingau Musik Festival
cond. Morten Schult-Jensen / Immortal Bach Ensemble

“The marvellous soloists [including] the brilliant English tenor Thomas Hobbs were rewarded with a standing ovation.“
RheinMainTaunus – Onlinemagazin, September 2012

Recording: Bach B minor Mass (Phi LPH004)
Collegium Vocale Gent / cond. Philippe Herreweghe 

“[Hobbs’] voice is light, clear and easy and, supported by an excellent flautist, his performance of this taxing aria is stylish and most enjoyable.”
John Quinn, MusicWeb International, August 2012

“Tenor Thomas Hobbs displays a lovely free-floating high line in the Benedictus.”
Robert Hugill, MusicWeb International, July 2012

“In the Benedictus, Thomas Hobbs sustains an exemplary even tone from top to bottom of his range.”
George Pratt, Classical-music.com, July 2012

Recording: Handel Esther (Lin CKD 397)
Dunedin Consort / cond. John Butt
“Tenor Thomas Hobbs’ mellifluous ‘Tune your harps’ plucks plaintive heartstrings…”
Paul Riley, BBC Music Magazine, July 2012

"Thomas Hobbs sings 'Tune your harps' gracefully, abetted by the eloquent oboist Alexandra Bellamy"
Richard Wigmore, Gramophone, May 2012

Handel Messiah / Le Concert Lorrain / Saarbrücken
cond. Andreas Goepfert

“Der Brite Thomas Hobbs war mit seinem hohen lyrischen Tenor in vielen Rezitativen sofort Herr der Lage.”
“The British lyrical tenor Thomas Hobbs had a commanding presence in his many recitatives.”
Saarbruecker Zeitung, March 2012

Bach B minor Mass / Concertgebouw Bruges
cond. Philippe Herreweghe / Collegium Vocale Gent

“Thomas Hobbs very harmoniously completes the quartet with a powerful and charming voice.”
Sèbastien Gauthier, Concerto Net, January 2012

Handel Messiah / Royal Scottish National Orchestra
Glasgow Royal / cond. Roy Goodman

Each of the soloists offered something of real beauty... The clarity with which tenor Thomas Hobbs produced every single phrase was to be enjoyed throughout... characterised by confidence and professionalism.”
Carla Whalen, Scotsman, January 2012

Handel Messiah / City of Birmingham Symphony Orchestra                                                  Symphony Hall / cond. Adrian Lucas
“Thomas Hobbs, demonstrated stylistic awareness and impressive breath control in long phrases (…)”
David Hart, Birmingham Post, December 2011

Zelenka Missa dei Filii and Bach Cantatas / Freiburg Barockorchester / Berlin Philharmonie / cond. Marcus Creed
“Part of the miracle which Thomas Hobbs - first among equals of the excellent soloists - proclaimed in his pure, shimmering tenor voice, was that even the most critical listener was moved by the astonishing annunciation of the immaculate conception.”
Carsten Niemann, Der Tagesspiegel, December 2011

Alessandro in Mozart Il re pastore / Kings Place
Classical Opera Company / cond. Ian Page

“The magnanimous Alexander the Great was sung by a warm-voiced tenor Thomas Hobbs: his bravura arias were dispatched with brilliant control.”
Nahoko Gotoh, Bach Track, November 2011

“Sprague’s fellow-tenor Thomas Hobbs brought a touch of the buffo to Alessandro and earned some unexpected laughs along the way…”
Mark Valencia, Classical Source, November 2011

Bach B minor Mass / Collegium Vocale / St John's Smith Square
cond. Philippe Herreweghe

“...the dramatically convincing and vocally flexible tenor soloist, Thomas Hobbs.”
Esslinger Zeitung, May 2011

“...the lovely interplay of solo flute and Thomas Hobbs’ tenor in the ‘Benedictus’.”
Financial Times, May 2011

Telemachus in Monteverdi Ulysses
English National Opera / cond. Jonathan Cohen / dir. Benedict Andrews

“(…)this Ulysses...has the sublime consolation of the recognition of his son (superbly performed by Thomas Hobbs)."
The Spectator, April 2011

“With fine support from younger voices... Thomas Hobbs as a vocally exquisite Telemaco.”
Michael White, Daily Telegraph, March 2011

“Thomas Hobbs’s Telemaco [is] glitteringly sung.”
Michael Church, Independent, March 2011

Tenor Thomas Hobbs (Telemaco) is blessed with a beautiful Mozartian voice...”
Agnes Kory, Musical Criticism, March 2011

“Other roles are cast from strength, with Thomas Hobbs’s warm full tenor as Telemachus standing out for sheer vocal quality.”
Rupert Christiansen, Daily Telegraph, March 2011

“The cast combined experienced ENO regulars... with newer talent (notably Thomas Hobbs as Telemaco...) to gripping and traumatic effect.”
Fiona Maddocks, Observer, March 2011

“It was an evening of fine tenors, with... Thomas Hobbs all poised lyricism as Telemaco, Ulysses son.”
Alexandra Coghlan, New Statesman, March 2011

“...Telemaco (nobly sung by Thomas Hobbs)”
Richard Morrison, The Times, March 2011

“The young tenor Thomas Hobbs made an auspicious ENO debut as Telemachus.”
Melanie Eskenazi, Music OMH, March 2011

“Thomas Hobbs fulfills his golden-toned promise as a recent RAM student as the royal son Telemaco.”
Simon Thomas, What’s On Stage, March 2011

“Thomas Hobbs as his son reveals a fine tenor.”
Sam Smith, Londonist, March 2011

“...Thomas Hobbs in a touching turn as Ulysses's son, Telemaco... Hobbs deserves particular praise for his part in the second most moving moment of the night: the stunningly quiet reunion with his father Ulysses.”
Igor Toronyi-Lalic, The Arts Desk, March 2011

Tenor Soloist Unexpected Meetings: The Operas of Haydn
Classical Opera Company / cond. Ian Page

“Hobbs’ voice mingles elements of English choirboy, Italian lover and full-blooded Haydn hero. He opened with a show-stopping ten-minute aria from Acide, ‘La beltà che m’innamora’, finding fresh colours and moods for each repeated stanza... he produced some lovely tone in his middle range”
Amanda Holloway, Opera Magazine, March 2011

“‘La beltà che m'innamora’ from Acide (Haydn's first opera) featured the wonderfully secure tenor of Thomas Hobbs - strong of voice yet lyrical and very secure at speed. He excelled again at the other end of the first half in an aria from L'incontro improvviso (‘Indarno m'affanno … Deh! Se in ciel’”), a Turkish-tinged piece which, alas, showed some of the insecurities of using natural horns. His wit was to the fore in the catalogue aria ‘Ho viaggiato in Francia’ (Orlando Paladino), where a ‘patter’ element worked wonderfully.”
Colin Clarke, MusicWeb International, January 2011

“Tenor Thomas Hobbs had us laughing at ‘Ho viaggiato in Grancia’ from Orlando Paladino, a crazy catalogue song, written six years before Mozart adopted the form for Leporello on Don Giovanni, and one that hilariously lists nations, not conquests, in a manic pretence at well travelled heroism by a hungry squire trying to impress a shepherdess in return for a square meal. Earlier Hobbs had beguiled us with a beautifully sung melody from Philemon und Baucis, an opera Haydn wrote as a sophisticated “voiceover” for the opening of his patron Nicolaus Esterházy’s new marionette theatre.”
Stephen Pritchard, Observer, January 2011

Recording: Monteverdi Vespro della Beata Vergine (1610) (Novum NCR1382)
Choir of New College, Oxford; Charivari Agréable / cond. Edward Higginbottom 
“Thomas Hobbs showed how such music should be sung”
Andrew O’Connor, International Record Review, October 2010

Bach B minor Mass
Dunedin Consort

“Thomas Hobbs' Benedictus is gloriously lyrical”
George Pratt, BBC Music Magazine, July 2010

Evangelist in Bach St Matthew Passion
Birmingham Bach Choir / cond. Paul Spicer

“Thomas Hobbs (delivered) this massive role with absolute conviction, in a voice that ranged from soaring sweetness to dark, tear-choked sorrow. He was tremendous, and he, more than anyone, gave this performance its devastating impact.”
Lichfield Mercury, April 2010

“As was Thomas Hobbs’ tremendous performance as the Evangelist, sung with a radiant tone and astonishing range of vocal characterisation.”
Richard Bratby, The Birmingham Post, April 2010

"Thomas Hobbs, as the Evangelist (delivered) this massive role with absolute conviction, in a voice that ranged from soaring sweetness to dark, tear-choked sorrow. He was tremendous, and he, more than anyone, gave this performance its devastating impact."
This is Tamworth, April 2010

Albert in Britten Albert Herring
Royal Academy Opera / cond. Nicholas Kok / dir. John Copley
“As the gormless Albert, Thomas Hobbs admirably conveys the awkward demeanour of an apron-tied lad with a lot to learn.”
Geoff Brown, Times, March 2010

“From amongst the strong cast, Thomas Hobbs in the title role stands out. His stunning tenor voice is consistently ethereal, although never so heavenly as to stop us from believing that this really is just a small town lad. He also proves a fine actor as his face carries a look of total bewilderment during the May Day festivities, which reminds us that it requires just as much skill to produce comic expressions as serious ones.”
Sam Smith, What’s On Stage, March 2010

“Hobbs has a powerful but pure tenor voice, which he used with musicality and technical assurance…what will stay with me longer is the masterly and wholly credible pathos with which he sang about his fear (of adulthood) in the second act.”
Agnes Kory, Musical Criticism, March 2010

“Thomas Hobbs made a memorable large, ungainly Albert, sung as well as any of his prestigious predecessors in the role, his body language and facial expressions alive to every moment of his humiliation and resurrection with new found determination to be his own man.”
Peter Graham Woolf, Musical Pointers, March 2010

Haydn The Creation
Manchester Camerata / Sheffield Philharmonic Chorus / cond. Paul Borough

“Tenor Thomas Hobbs was highly impressive as Uriel with crystal clear diction. The recitative of the creation of day and night, the seasons, years and days was marvellously unfurled and his arias were sung with lyrical warmth.”
Bernard Lee, Sheffield Telegraph, December 2009

Count Alberto in Rossini L’occasione fail ladro
Royal Academy Opera / cond. Dominique Wheeler / dir. Daniele Guerra

“As the unfortunate Alberto, Thomas Hobbs provided some of the most enjoyable and accomplished singing of the evening.”
Stuart Jenkins, Musical Pointers, May 2009

“...The Academy cast was packed with promise...Thomas Hobbs, the Alberto… a Rossini tenor ready to sacrifice seductiveness of timbre to virtuoso accuracy (as Chris Merritt and Rockwell Blake were, as Juan Diego Florez is). His early divisions were accurate…when the aria arrived, the old ideal of 'honeyed elegance' began to inform his performance, and he was winning...”
Andrew Porter, Opera Magazine, July 2009

Recording: Damon in Handel Acis and Galatea (CARUS 83.420)
cond. Nicholas McGegan / North German Radio Chorus & Göttingen Festival Orchestra
"Thomas Hobbs has a bright appealing voice, with considerable agility."
Barry Brenesal, Fanfare Magazine, January 2009

Haydn La Tedelta Premiata
cond. Trevor Pinnock / Royal Academy Opera

“These conservatoire productions… offer the public a chance to see rare repertoire and spot rising stars, who always work alongside experienced professionals. Trevor Pinnock conducted a bristling performance of La fedelta premiata… Thomas Hobbs and the rest of this excellent cast are names to watch.”
Observer, March 2009

“The cast I saw (as usual with students productions, one of two companies), fielded some fine voices. Tenor Thomas Hobbs… stood out… making us feel the future of opera is safe.”
What's on Stage, March 2009

Damon in Handel Acis and Galatea
Dunedin Consort

“The excellent instrumental playing is wonderfully engaging, and particularly enjoyable performance (of)… the very impressive interpretations of young tenor Thonas Hobbs as Damon.”
Sunday Herald, February 2009

“Thomas Hobbs is a bright Damon.”
Classic FM Magazine, February 2009

“Thomas Hobbs in the rols of Damon, Acis’ companion, is smooth-voiced and neat, with forthright delivery…”
International Record Review, February 2009

“…and the impressive young tenor Thomas Hobbs…”
Scotsman, February 2009

Vaughan Williams On Wenlock Edge
Edinburgh Quartet

“…but does finding the right performers seem worth the effort? With Thomas Hobbs as tenor soloist and Nicholas Ashton as pianist, the answer this week was yes… But Thomas Hobbs’s voice was incisive enough to cut through the clutter of what was essentially a piano quintet, and he handled the emotion of the climactic song - the mounting sadness of Bredon Hill - with real intensity.”
Herald Scotland, April 2008

Bach St Mark Passion
Whitehall Choir

“It was, however, the powerful voice of the evangelist, Thomas Hobbs, that really made the performance special. He led us through the trails and tribulations with a brilliantly unassuming authority lightly dappling each phrase with the most delicate vibrato. Still only 23, he is a major to look out for.”
Daily Telegraph, March 2007

Bach St John Passion
Henley Choral Society
“Of the soloists, Thomas Hobbs gave an outstanding performance in the crucial role of the Evangelist, singing the gospel narrative throughout with a clear unforced voice in excellent German, and bringing out Bach’s word-painting to good musical effect.”
Henley Standard, April 2007

Monteverdi Vespers
Three Choirs Festival

“He [Nicholas Mulroy] also combined most effectively with fellow tenor Thomas Hobbs in a marvellously fluent and plangent rendition of ‘Duo Seraphim’… Thomas Hobbs… sang the demanding ‘Nigra Sum’ very well indeed and later on the work he also contributed some crucial and most effective offstage echoes.”
MusicWeb International, August 2007

Monteverdi Vespers
Ex Cathedra / Birmingham Town Hall

“All deserved credit for their contributions, but none more so than the echoing, virtuosic pair of tenors, Benjamin Hulett and Thomas Hobbs…”
Birmingham Post, June 2007

Documents

Thomas Hobbs - Emerging Artist Download
Thomas Hobbs biography Download
Thomas Hobbs press quotes Download
Thomas Hobbs repertoire (concert and recital) Download
Thomas Hobbs repertoire (opera) Download

Photos

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