Tanja Ariane Baumgartner

Mezzo-Soprano

Biography

German soprano Tanja Ariane Baumgartner is currently among the leading mezzo-sopranos of our time. Recent highlights include performances of Fricka (Rheingold/Walküre) at the 2017 Bayreuth Festival as well as this season at Lyric Opera of Chicago. Further standout performances include her celebrated Cassandre (Les Troyens) at Oper Frankfurt, and her spectacular role debut as Ortrud (Lohengrin) at the Staatsoper Hamburg. Her 2017/18 season included a role debut as Kundry (Parsifal) at the Vlaamse Opera in Antwerp and Clarion in a new production of Capriccio in Frankfurt.

In Summer 2018, Ms. Baumgartner returned to the Salzburger Festspiele, where she sang Ague/Venus in a new production of Heinz-Werner Henzes The Bassarides under the baton of Kent Nagano. Future performances include concerts with the Munich Philharmonic, Orchestra de Radio France, as well as appearances at Oper Frankfurt, Opernhaus Zürich, and the Staatsoper Hamburg.

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Reviews

“Tanja Ariane Baumgartner performed the Princess of Bouillon with phenomenal stage presence and unfailing vocal power and sonority. An absolutely sensational role debut, vigorously applauded by the audience.”

Hans-Klaus Jungheinrich

“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

More Reviews

“Tanja Ariane Baumgartner performed the Princess of Bouillon with phenomenal stage presence and unfailing vocal power and sonority. An absolutely sensational role debut, vigorously applauded by the audience.”

Adriane Lecouvrer at Oper Frankfurt: Hans-Klaus Jungheinrich, Opernwelt

“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 

“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 

“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 

“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 

“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

“Tanja Ariane Baumgartner is Frankfurt’s “secret weapon” of dramatic mezzo, her Princess of Bouillon in “Adriana Lecouvreur” is still (very) well remembered, a dazzling posture and a superbly appealing voice in every register put the listener’s attention under its spell in this demonic role.”

Helmut Walter, Das Opernglas

“…Tanja Ariane Baumgartner is a rapidly rising star on the continent, though but a name here. She has several deep contralto parts in her repertoire, yet reached the higher notes of Judith’s music with ease, and sang consistently with a gloriously rich tone. These two principals acted and reacted expressively, and constantly held attention.”

Bluebeard’s Castle at Edinburgh Festival Theatre: Opera Scotland

“Tanja Ariane Baumgartner’s performance was particularly fine. Her crowning moment was unforgettable! That glorious top C – reminiscent of Haydn’s Creation – towered triumphantly over brass triads, as she opened a non-existent door 5, revealing the moonlit panorama of Bluebeard’s kingdom.”

Bluebeard’s Castle at Edinburgh Festival Theatre: Marc Corbett-Weaver, Edinburgh Guide 

“Tanja Ariane Baumgartner, whom I have had a few occasions to praise in performances outside this country, made a splendid Covent Garden debut as Clairon, rich of tone and both alluring and lively of presence.”

Capriccio at The Royal Opera House: Mark Berry, Opera Today 

“Vocally, this ‘Carmen’ has brought an authentic revelation: a young, brunette German mezzo, Tanja Ariane Baumgartner, who in the title role, proved to be a surprising vocal beauty with an excellent pronunciation of our language. A true stage performer, endowed with an attractive physique, she holds the attention through the wonderfully balanced timbre across her vocal range; her stage presence along with her in depth portrayal of the character complete one of the most convincing ‘Carmen’ performances we have ever seen.”

Carmen at Théâtre de Bâle: Emmanuel Andrieu, Classique Info 

“Schoeck’s demand that his listener “has to become conscious of Kleist” was painstakingly realized by his remarkable cast. Mezzo Tanja Ariane Baumgartner, his Penthesilea, had the voluminous, wide-ranging voice needed to plump the role’s abysmal depths and ascend to its gloriously blazing heights. And she looked the warrior maiden to perfection, slim and graceful like the bow from which she shot her arrows with pinpoint exactitude. In her role’s few lyrical moments she heated up her voice with a sensual glow.”

Penthesilea at Théâtre de Bâle: Horst Koegler, Opera News

“Tanja Ariane Baumgartner as Eboli is a natural phenomenon! Elegant, passionate, with exciting mezzo-colours and with secure coloraturas, she undrapes “The Veil Song” with vibrancy and stunningly imbues “O don fatale” with a dramatic richness whilst creating a magnificent harmony in the higher reaches of the aria.”

Don Carlo at Oper Frankfurt: Gerhard Hoffmann, Der Neue Merker 

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