Press
“Mahler's final movement incorporates "Heaven's Life" from "Des Knaben Wunderhorn", a book of German folk tales for children that Mahler set to music… Sung with crystal-clear intonation and great warmth by renowned soprano soloist Patrice Tiedemann, this vision of heaven reminds us that the Biblical Christmas story includes Herod's slaughter of the innocents.”
Read the complete review of NBSO's performance of Mahler's 4th Symphony by
Laurie Robertson-Lorant, for the Standard-Times
“What made the evening worthwhile was the spectacular singing of soprano Patrice Tiedemann.”
-Libby Hughes, www.Capecodtoday.com
"Patrice Tiedemann and Laura Choi Stuart employed their crystalline sopranos to make the most of small roles. "
-Ed Tapper, Bay Windows
“Mozart's "Cosi fan tutte" opened. Once the Fiordiligi (Tiedemann) and Dorabella (Wilson) began to sing, there was no doubt here were two formidable actresses with ravishing operatic voices…. Sir Peter Brook's adaptation of Bizet's most famous opera as "La Tragedie de Carmen," with musical assistance by French composer Marius Constant (noted for "The Twilight Zone" theme), did not sound like too much deconstruction had occurred. Wilson as Carmen and Tiedemann as Micaela were in top form and emotionally moving…. With some costuming Wilson assumed the role of the Principessa and Tiedemann the lead in Puccini's one act tear-jerker "Suor Angelica." Their performances were riveting.”
-Review of Charleston Chamber Opera’s performance at the Piccolo Spoleto Festival
by William Furtwangler for the Post and Courier Friday, June 5, 2009
“Patrice Tiedemann performed "Depuis le Jour" from the opera "Louise" by French composer Gustave Charpentier, which tells of the love between a seamstress and a young artist. Tiedemann's soprano voice and intonation was magnificent and her dramatic flair brought a visual sense of euphoric love.”
-Review of Greater New Bedford Choral Society’s concert of Saint Saens Requiem and operatic works by
Carol Tollefsen-Hoaglund for the Standard Times, May 21, 2009
“Patrice Tiedemann, soprano, sang the aria with beguiling sincerity, “He blesses those who fear the Lord, both small and great.”
-Review of Mastersingers by the Sea's performance of Bach Cantata 196 by
Susan Pennington for the Falmouth Enterprise, May 1, 2009
“Ms. Tiedemann and Mr. Soper were marvelous in their depiction of the personification of the lovers”..... “Ms. Tiedemann gracefully sang in the stratosphere and was ravishingly engaged, as well.”
-Review of Mastersingers by the Sea's performance of James Wagonerís Song of Solomon by
Susan Pennington for the Falmouth Enterprise, May 1, 2009
“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 ís time to cut loose.”
-Review of Charleston Chamber Opera's Pilot Season by Robert Bondurant for the Charleston City Paper, 6/6/08
"soprano Patrice Tiedemann gave an agonized performance of heart-broken Cleopatra"
-Review of Shakespeare Concert by Sarah Funke for suite101.com 3/17/2008
"The last of the singers to enter the stage, Patrice Tiedemann was by no means the least. Her clear soprano in pieces such as "Take, O Take Those Lips Away" (Amram) was like a simple but delicious dessert after such hearty epic fare."
-Review of Shakespeare Concert by Sarah Funke for suite101.com 3/28/2009
“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, The Standard-Times, 10/23/07
"Patrice Tiedemann uses her operatic voice to great effect as the half human teapot, Mrs. Potts"
-review of New Bedford Festival Theatre's production of Beauty and the Beast by Tony Lewis, The Standard Times 7/2004
"After the opening comes a hilarious scene between Mr. Bumble, played by Scott Simpkin, and Widow Corney, played by Patrice Tiedemann (packed with more sexual tension than a first date.) This scene provided many laughs from the audience due to its commentary on sexual politics of the 1800's."
-review of New Bedford Festival Theatre's production of Oliver by Daniel Pugatch, southcoast247.com 8/2005
"The duel vocal threats of Patrice Tiedemann (Miss Fezziwig and Ensemble) and Dawn Tucker (Mrs. Cratchit and Ensemble) take the cast upon their collective musical shoulders with powerful voices and matching strong characterizations."
-review of New Repertory Theatre's A Christmas Carol by Richard Campbell for The Epoch Times 12/18/2006
“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, 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.”
“Tiedemann’s singing salvages Golden Age...”
-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 fanciullaî” 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, 5/97
“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