“the more personal, active and necessary practice than the passive, ex-personal placement of hope – amidst loss, loneliness and the sanitization of violent legacies by profiteering systems sang forth a delicate invitation to live within the intimacies of an early dew.” (of Prayer of the Morning with Hadar Ahuvia)

Harmonic Convergences at La MaMa Moves! 2021
Maura Donohue Culturebot 2021


“Her work bears its own historicized weight, transcending the fraught history between utterance and stance through an exacting inquiry…Tenenbaum is able to intensify the representational and imitational power of the body, bringing such spatial-architectural energies together to form an agile, resistant collectivity”

The Air Chrysalis: The Bodily and The Sonorous…
Huang Banyi and Tinging Ma Critical Correspondence 2019


“[Tenenbaum] found it easier at times to sing her way through an explanation of her work than to speak it. The somewhat struggleful process of shaping her ideas into words seemed more about weighing each word for truth than about being lost for words altogether, and this fastidiousness will likely keep her curious about vocalization for a lifetime.”

Giving Voice to Collective Memory
Rennie McDougall The Brooklyn Rail 2019


“…it becomes clear that, for Tenenbaum, one’s entire body, not just one’s vocal chords, speaks and sings.”

Tatyana Tenenbaum’s Untitled Work for Voice
Eva Yaa Asantewaa Infinite Body, 2018


 “What have we seen and heard? A series of visual and sonic bagatelles, like charms on a psychoanalytic bracelet. We give ourselves up to this exploration, to this arena where the personal meets the political meets the impulse to claim musical theater as folklore.”

Guilty Feet Have Rhythm

Elizabeth Zimmer Village Voice, 2018


“When the performers sing, vocalizing words or sounds, the shape of their curving bodies — descending into a plié or standing still with a slow rise of the arms — affects pitch and tone through the breath. It takes coordination, and while Ms. Tenenbaum is the most masterly, her frequent partners Laurel Snyder and Emily Moore are excellent, too, taking their time to grow into the shapes and sounds…. when all of the elements converge, ‘Thunder’ feels, and sounds, a little like magic.”

‘Thunder,’ Through Body and Voice
Gia Kourlas New York Times2016


“I’ve seen a good amount of experimental dance, and heard a good amount of experimental music, but never experienced the two combined in quite the same way that Tatyana Tenenbaum pulled off in her new work Thunder. Rather than performing as dancers or musicians, each cast member became a truly hybrid cross, moving and sounding at the same time throughout the piece.

Loosely Bound Thunder
Ellen Chenoweth Thinking Dance, 2014


“Alive with formal experimentation and glints of a fresh voice… The pure research that Ms. Tenenbaum presents in ‘Private Country’ could be applied with great expressive power.”

Song And Script Taking One Space After Another
Brian Seibert New York Times, 2013


“actually a tiny opera…to attend to musicianship of this caliber, from a distance of about 10 feet, is reason enough to trek to Long Island City… ”

Impressions of: The Fall Season at the Chocolate Factory Elizabeth Zimmer Dance Enthusiast, 2013


“[This] work is exploring territory that hasn’t been mapped yet, and even experienced performance practitioners are going to be pushed to attend to all the levels the work is operating on.”

Tatyana Tenenbaum’s Modal Investigations
Buck Wanner Culturebot, 2013


“The Near(ness) is more tone poem than dance, but combining both makes the piece stronger.”

Sound Dreams
Quinn Batson OFFOFFOFF, 2010

“[someone] marveled that there was ‘very much something about Tenenbaum’s own generation that embodied her work.’ I had to agree. As a fellow member of Generation Y, I found the piece spoke to me directly. Its relatable element had something to do with the clear, sparse prose that ran though the work. The spoken phrases, combined with Tenenbaum’s singing voice, gave the movement a soothing backdrop.

Lights Up on Dance Conversations at the Flea
Simone Larson The Brooklyn Rail, 2007