Recent reviews

Les Troyens

‚There´s no question that Berlioz`s characters need help and can appear static in their confrontations, but only Tanja Ariane Baumgartner`s visionary,noble and excitingly sung Cassandre had the measure of her role as a `descendant`of the classical heroines of Gluck and Cherubini`s Médée. That this exceptional singer is a member of the Frankfurt ensemble- could she perhaps have also sung Didon, I wondered through the long Carthage acts?- is a huge boon to Loebe. This was a performance that could grace any stage of the world.‘

-Hugh Canning, Opera Magazine (June 2017) 

„Nun erwies es sich als großes Glück, dass eben am 19. Februar an der Oper Frankfurt LES TROYENS Premiere feiern wird. Die Sängerin dieser Produktion, Tanja Ariane Baumgartner, zog nun also ihr Debüt vor, sprang verdienstvollerweise in Hamburg ein und rettete so die Vorstellung. Und wie! Ihr bernsteinfarbener Mezzosopran leuchtete und funkelte mit bestechender Intensität, fulminante Spitzen krönten die unheilschwangeren Prophezeiungen der vergeblich mahnenden Seherin. Zwar sang sie verständlicherweise noch von der Seite und mit dem Klavierauszug auf dem Pult und Julia Franz spielte die Rolle auf der Bühne. Aber das störte überhaupt nicht, es führte gar zu einem sehr interessanten Effekt, die Wahrsagerin Cassandre erhielt so quasi durch die Verdoppelung der Partie übernatürliches Gewicht.“

-Kaspar Sannemann


La excelente mezzosoprano alemana Tanja Ariane Baumgartner, quien encarnando a Kostelnicka, la “Sacristana”, asumió con contundente medios un rol que además de su gran exigencia vocal (suele ser cantado por sopranos dramáticas) es un desafío en lo actoral, que ella abordó con una gran entrega dramática pero sin caer en los desbordes o la caricatura. Como era de esperar, aprovechó muy bien su climax dramático en el segundo acto, estremeciendo con su monólogo, pero también convenciendo en las bellas líneas vocales de su conversación con Steva. Una cantante de ascendente carrera (ha actuado en escenarios como el Covent Garden de Londres y el Festival de Salzburgo, y este año debutará en el Festival de Bayreuth, como Fricka en “La valquiria”), que ojalá tengamos pronto de regreso.‘

-Marcia Graciela Lopez, biobiochile (

Das Rheingold

‚Lyric fielded an exceptional quartet of German singers in Tanja Ariane Baumgartner, as a luxuriously intoned Fricka.‘

-Thomas Ketterson, Opera News Mark

‚Baumgartner, who will sing Fricka in Lyric’s


, also has a big, expressive instrument at her disposal. Strolling onstage swathed in a red satin sheath for the Habanera from Bizet’s


, she unleashed a supple, sexy vocal line. Her mezzo-soprano dipped and swooped, playfully responding to Lyric’s eager chorus of soldiers. In the more somber atmosphere of Princess Eboli’s aria, “O don fatale” from Verdi’s

Don Carlo

, Baumgartner raged and repented with a vengeance. Her ringing, open top notes sailed into the night, sometimes managing to vanquish the sirens that are downtown Chicago’s ever-present soundtrack.‘

-Wynne Delacoma, Chicago Classical Review (09/10/16)

‚The rest of this superb Prom consisted of Mahler’s Ruckert-Lieder and Mozart’s Mass in C minor. In the former, mezzo-soprano Tanja Ariane Baumgartner was the soloist, and one couldn’t have wished for a more gracefully accomplished exponent.‘
-Michael Church, The Independent


‚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.

-Operaobsession (January 2014) 


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).‘

-George Loomis, New York Times (December 2013) 


‚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 02/17/2014)


‚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 Opernfreund (02/14/2014) 

Adriana Lecouvreur

‚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.‘

-Opernglas 4/14 


‚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