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"Exhibited an impressive grasp of the techniques of Baroque vocal style and a natural way of making them serve a vocal text."
The Toronto Star 


Countertenor JEFFREY DOOLEY, a protégé of the renowned British countertenors Alfred and Mark Deller, is now available for master classes and coaching in authentic Baroque style for both concert and opera.

Jeffrey has performed Bach’s MASS IN B MINOR at the Basically Bach Festival (Chicago), Purcell’s ODE FOR SAINT CECILIA’S DAY with the Milwaukee Symphony Orchestra (Lukas Foss conducting), and Scarlatti’s SAINT CECILIA MASS and Vivaldi’s MAGNIFICAT on a tour of Switzerland and Italy with Amor Artis (Johannes Somary conducting). Other performances include a recital at the Norddeutscher Rundfunk (Berlin), Bach’s SAINT JOHN PASSION with the Paul Hill Chorale at the Kennedy Center, Purcell’s DIDO AND AENEAS (Sorceress) with the Central City Chorus in New York City, and Handel’s MESSIAH in Milwaukee, Chicago, Toronto, Montreal and New York City (Lincoln Center), among many others.
Jeffrey Dooley’s recordings include Joshua Rifkin’s prize-winning recording of Bach’s MASS IN B MINOR (Nonesuch), Heinrich Schütz’s SAINT MATTHEW PASSION, Bach’s SAINT JOHN PASSION, and Handel’s ACIS AND GALETEA (Newport Classic) and Henry Purcell’s AIRS AND DUETS with tenor Howard Crook, rereleased on Lyricord Discs. Jeffrey’s latest CD, entitled “DEAR FRIENDS AND GENTLE HEARTS,” features the songs of Stephen Foster from a Baroque perspective (with harpsichordist Kathryn Cok).
Jeffrey Dooley may now be heard as co-host of the Lyrichord Early Music Series podcasts, along with Lyrichord president Nick Fritsch. They discuss such wide-ranging topics as the history of development of keyboard instruments, the history of the countertenor, the history of instruments such as the recorder and baroque flute, the “revival” harpsichords of the early twentieth century, the baroque period in music, and many other topics. Just click here to find out more or to listen to a podcast.

Press Excerpts:
“Great brilliance and musicality” (Vivaldi Nisi Dominus)
Newhouse Newspapers

“Dooley’s voice is clear and flexible, with capabilities for both lightness and strength ... fine attention to ornamentation and other aspects of Baroque vocal practice “ (Henry Purcell Airs & Duets - Nonesuch)
Fanfare magazine

“Impressive ... concentrated expression ... fine consistency ... freshly imagined ... beautifully sounded” (Handel Messiah)
The New York Times

“An excellent countertenor ... thoroughly pleasing ... seemingly effortless diction ... refreshingly unporetentious manner of expression”
Berliner Morgenpost

“The best a bedazzled critic can offer is appreciation ... a more cultivated sound than Dooley’s is scarecely to be found .. perfectly pitched, intelligently considered, subtly inflected, exquisitely colored ... Dooley proved himself not just a countertenor of the highest rank, but a musical artist in excelsis.”
Milwaukee Sentinel

“Touched upon the sublimely melancholy spirit of Elizabethan England ... his approach was unusually affecting ... the audience flowed from the chapel into the main sanctuary and this was one of the coldest nights of the year” (Homage to Alfred Deller)
The New York Times
“Jeffrey Dooley sang affectingly ... tastefully imaginative ornamentation ... lovely tone” (Vivaldi Gloria)
The New York Times

“Jeffrey Dooely is to be congratulated for following his heart. Dear Friends & Gentle Hearts is an original idea come to successful fruition.”
Fanfare magazine

Songs of Stephen C. Foster
with Kathryn Cok, harpsichord
and baroque instruments and Civil War drums
(Lyrichord Early Music Series)

with Joshua Rifkin and The Bach Ensemble
Named Outstanding Recording of the Year by Gramophone magazine
(Nonesuch )

Airs and Duets
with Howard Crook, tenor
(Lyrichord Early Music Series)

with The Brandenburg Collegium Orchestra and Chorus
Anthony Newman, conductor/harpsichordist
(Newport Classic)

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Jeffrey with harpsichordist Kathryn Cok

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