Press  “Enter soprano Patrice Tiedemann as Heddy, an actress, here to play Miss Manners. Miss Manners on Music by Dominick Argento consists of a musical monologue arguing that “music worth listening to, is worth listening to.” Patrice, a buttery soprano, gave Miss Manners a perfectly righteous prissiness leavened by just the right touch of excitement when it’s time to “cut loose.” -Review of Charleston Chamber Opera’s Pilot Season by Robert Bondurant for the Charleston City Paper June 6, 2008 “Then came the real deal, the "Requiem." Soloists were Patrice Tiedemann (soprano), Lara Wilson (mezzo), Matthew DiBattista (tenor), and T. Stephen Smith (bass-baritone). All had great skill and wonderful instruments, but the true key is how well they sounded together… It was the quartet singing from the soloists that impressed the most. If you had to pick winners, Tiedemann and DiBattista had the biggest voices — Mr. DiBattista in particular has the kind of helden-tenor volume that is rarely heard in these parts. But it was the blend — and credit the conductor, who makes this happen — that was most impressive.” -Review of the New Bedford Symphony Orchestra’s Mozart Requiem by Keith Powers for The Standard Times 10/23/07 “Among the first-rate supporting cast members, Daniel Cole brought a menacing cool to the Secret Agent and Frank Kelley, as the Magician, brought his usual dramatic flair and superb musical intelligence to bear. David Kravitz, Patrice Tiedemann, Laura Choi Stuart and Victoria Avetisyan, as other asylum seekers, and Nikolas Sean-Paul Nackley as a freedom fighter, all sang with a deep connection to character and story.” -Review of Opera Boston’s “The Consul” by Wayman Chin for Opera News 1/2006 “David Kravitz, Patrice Tiedemann, Victoria Avetisyan, and Laura Choi Stuart offered well-sung cameos as the victims of the waiting room.” -Review of Opera Boston’s “The Consul” by Richard Dyer, Boston Globe 10/22/05 “All of the roles in Opera Boston's Consul were extremely well-cast. The various people in the waiting room were terrific. Patrice Tiedemann and Laura Choi Stuart employed their crystalline sopranos to make the most of small roles. “ -Review of Opera Boston’s “The Consul” by Ed Tapper, Bay Windows 10/27/05 “Others in the uniformly excellent cast included Claudia Huckle, Joshua Kohl and Patrice Tiedemann.” -Review of Boston Lyric Opera’s “The Little Prince” by TJ Meek, Boston Herald 2/17/05 “The roles of the colorful characters and creatures the Prince encounters in his journeys were well sung by young local singers who really gave their all. They well-prepared and totally comfortable in the idiom, carrying out all their stage business without missing a trick. They seemed to have been born wearing Maria Bjornson's nifty costumes, and exhibited a high level of professionalism throughout.” -Review of Boston Lyric Opera’s “The Little Prince” by Ed Tapper, Bay Windows 2/24/05 “Patrice Tiedemann brought both romantic joy and a lover’s melancholy to Franz Lehar’s The Merry Widow and Oscar Strauss’ The Chocolate Soldier. Her humor surfaced in Johann Strauss’ Die Fledermaus.” –Review of Cape Cod Opera’s “The Golden Age of Operetta” by Libby Hughes, Capecodtoday.com, 8/25/03 “What made the evening worthwhile was the spectacular singing of soprano Patrice Tiedemann. Soloist Tiedemann has sung leading roles with this company with great success. She is a polished performer, her singing is beautiful and unmannered, and she possesses a natural style that reaches out to the audience… She could easily be performing with major opera companies anywhere and Cape Cod Opera would be smart to offer her anything she wishes for future performances before it’s too late.” –From “Tiedemann’s singing salvages ‘Golden Age,’ a review of Cape Cod Opera’s “The Golden Age of Operetta” by John Murelle, Cape Cod Times, 8/18/03 “There is some superb singing and stylish acting by soprano Patrice Tiedemann as Rosalinda Eisenstein….(She has) the requisite vocal projection and diction skills to be clearly heard….” –Review of Cape Cod Opera’s Die Fledermaus by Anna Crebo, Cape Cod Times, 2/23/03 “Among the highlights: Wayne Rivera and Patrice Tiedemann singing “Parigi, o cara” from La Traviata….and, in a most lovely duet, Rivera and Tiedemann singing “O soave fanciulla”…from La Boheme.” –Review of Echoes of Grand Opera with Cape Cod Opera by Melanie Lauwers, Cape Cod Times, 2002 “Patrice Tiedemann made her mark as Emilia…” –Review of Otello with the Indianapolis Opera by Charles Staff The Indianapolis Star, 5/18/97 “…Patrice Tiedemann (Emilia)….rounded out the otherwise excellent cast.” –Review of Otello with the Indianapolis Opera by Charles H. Parsons Opera News, May, 1997 “The showcase gained tremendous professional energy when guest soprano Patrice Tiedemann made her entrance as a costumed tavern maid at the Inn of the Three Golden Apples with “Come boys,” following the entire chorus of The Drinking Song. Her solos and duets were much appreciated by this audience member. She alone could have sung all evening to my satisfaction.” –Review of The Student Prince with Sippican Choral Society by George Hayden, Gateway Observer, 3/16/01