Recent reviews



Tanja Ariane Baumgartner gave a powerfully moving, deeply sensual performance as Charlotte. Her bearing and movements embodying the womanly ideal praised by Albert, but desire shines in her eyes; grief and passionate frustration throb in her voice.  Baumgartner sang the final scene with incredible generosity, crying out her anguish, pouring out her love.

0peraobsession Jan 14




The other roles are secondary to Oedipus but find gifted interpreters in the mezzo-soprano Tanja Ariane Baumgartner (Jocasta), alto Katharina Magiera (the Sphinx) and baritone Dietrich Volle (Creon).

New York Times George Loomis Dec 13


Puccini’s Edgar

As the resolutely amoral Tigrana, Tanja Ariane Baumgartner not only impressed vocally, but acted – and acted well – even when not singing. Baumgartner’s characterization made Tigrana a woman who is outspokenly truthful, and impervious to attempts to shame her for being so.


Who could have resisted the seductive charms of Tanja Ariane Baumgartner’s Tigrana? Her visual presence is combined with a wonderful musicality, her dark and warm shimmering, seamless mezzo-soprano – a magnificent voice (Dalila one day?)

Gerhard Hoffmann, Der Neue Merker Vienna 17.2.14


Tanja Ariane Baumgartner matched him (BRYAN HYMEL ) in presence and voice. Her dress, slit to the thigh, was a good scenic touch. She thrilled the audience with the virtuosity and brightness of her wonderfully focussed mezzo, and the apparent ease with which she soared strongly into the upper register. Tigrana is the only lead mezzo role Puccini wrote and in Frau Baugartner, in Frankfurt, she found a great interpreter.

Manfred Langer Der 0pernfreund 19.2.14



Tanja Ariane Baumgartner is Frankfurt’s “secret weapon” when it comes to dramatic mezzo roles, her Princess of Bouillon in “Adriana Lecouvreur” was unforgettable, a dazzling figure whose extremely appealing voice, in all registers, draws the listener increasingly under the spell of this demonic role.






The top class cast included Tanja Ariane Baumgartner’s all woman Circe. Wrapped in gold she screams, sighs and bemoans the absence of Odysseus. Everything is a dream! Circe lives in a “We” cosmos, imprisoned in it. Tanja Ariane Baumgartner starts the work off, grabs our attention, builds tension. She clasps a blue silk sheet, caresses it – the wild, passionate lamento reflecting what sticks in her craw when she realises that Odysseus has abandoned her. Rolf Riehm wrote flowing passages and explosive eccentric leaps for this incredible performer. You are completely carried away.



A company that has such an exciting and glamourous princess, and singer, on its roster as Tanja Ariane Baumgartner, a mezzo in this tricky soprano role, is lucky indeed.

Opera Magazine