“Thomas Shoebotham is an exceptional artist. His involvement with the music and passion for collaboration between the orchestra and dancers elevates our performances at New Ballet, allowing for nuance, interpretation, and a very high level of expressiveness. He is enthusiastic, great with tempos, and really works with choreographers and dancers to get things right. New Ballet is honored to have him as our Principal Conductor and we appreciate his deep love for music and dance.”

          –Dalia Rawson, Artistic Director, New Ballet San Jose, 2020

“Thomas Shoebotham recently conducted our Cleveland-based professional string ensemble, OPUS 216, on a special performance featuring music by Tchaikovsky, Barber, and Grieg. His level of preparation, technique, and ability to effectively communicate musical ideas with such a fast-moving project over the span of just two rehearsals helped make our performance a huge success. Several ensemble members commented to me following our performance that they truly enjoyed working with him. We would invite him to return to Cleveland anytime!”

          –Ariel Clayton Karas, violinist, founder and director, OPUS 216, 2019

“The first performance of a large, new work is a time of anxiety for every composer. Thomas Shoebotham undertook the premiere of my Symphony No. 3 with dedication and a sure hand. He was able to inspire the musicians to give their best, and the very appreciative audience was treated to a rendition of this complex work that was entirely faithful to my intentions. I could not be more grateful for the level of commitment and determination to be true to the music that Mr. Shoebotham showed in bringing my work to life.”

          –Lee Actor, composer, 2013

“His demeanor is professional, and achieving the highest standards of musical excellence is his goal with every project. He pays great attention to detail, yet enables singers and instrumentalists to perform with their own unique voices or sound, instead of stifling interpretive creativity. That is not to say that he does not have a clear vision in terms of musical interpretation; rather, he finds ways with which to coax the most effective performance from the singers and orchestra. His conducting technique is crystal clear, while still infused with expression. Members of the orchestra for our Nozze di Figaro went out of their way to express their admiration for his level of preparedness, his knowledge of the score and their parts, and the clarity with which he conducted from the very first rehearsal.”

          –Indre Vikontas, Artistic Director, Opera on Tap, 2013

“I recently played Principal Cello with an orchestra Mr. Shoebotham was conducting in Steamboat Springs, Colorado, and was quite impressed with his conducting skills. He is a deep musician and has very fine baton technique. His demeanor, while instructing the players, was always pleasant and I felt he empowered the musicians to excel. Thomas is also a fine cellist, but he understands how to get the best out of the whole orchestra and not just the strings. It was a joy to work with him.”

          –John Sant’ Ambrogio, former Principal Cello, St. Louis Symphony, 2012

“Since Thomas Shoebotham has taken over as Music Director of the Palo Alto Philharmonic, it has been raised from a so-so ensemble to one of the better orchestras among the many good ones in the Bay Area.”

          –The Daily Journal, San Mateo County, 2010

“The [Actor] Concerto, completed in November 2005, is new to me, and I found it completely entertaining as delivered under the stern baton of Music Director Shoebotham, who is a master of pacing and dynamics…Shoebotham is a fine conductor whose ensemble was very responsive to his direction.”

          –The Palo Alto Daily News, 2009

“Thomas Shoebotham infused a vigor long missing in this orchestra [Palo Alto Philharmonic] and pulled out a thrilling concert. There is no question that Shoebotham is a first-rate conductor.”

          –San Mateo County Times, 2008

“The [Opera San José] chorus, prepared by Thomas Shoebotham, shone with rousing, Verdian singing and colorful characterizations.”

          –Opera News, review of Il Trovatore 2004