“A wonderful and gentle magician, who does not dare to give too much room to a single emotion. The most cunning singer for the last decades.”
“...a remarkable stage presence ... her passionate, full-bodied singing strongly echoes Edith Piaf, but without conveying Piaf's aura of imminent self-destruction. ...simply spectacular.”
The New York Times
“Ingrid Caven manages to produce profound short-dramas with each single verse. She acts with her heart and ‘broken' soul refering to the syntax of her sophisticated songtexts.”
Frankfurter Allgemeine Zeitung
“...she can make a sad phrase bitter, then turn the pain into parody with exaggerated vocal tremors – she breathes life into a range of voices, from the rasp of a world-weary whore to the ills of a charming ingenue.”
“Her genious-like slipshod ability to phrase, this feverish presence is alarming in its beauty. Caven sings with her hoarse, powerful, fragile voice; unstable, almost on the edge, this moment turning away from the melody and the other moment returning to the melody – and, of course, nothing of it is coincidental. If the spirits of tragedy are called in such a magic manner, they will stay for a long time yet to come.”
“There can be more than just one point of view to her interpretations. That is because of Caven´s extraordinary emphasis on certain words and phrases, because of her risky change of tunes and the defamiliarization of her voice. It seems like riding a roller-coaster made of sounds and feelings.”
“One should avoid comparing Caven to Marlene Dietrich or search for an affinity to Piaf. Diva and only Diva fits her. That is because only an uncomparable person can wear that title. Caven is not lost in a no-man's-land which is made of memories and reflexions, she walks wide-awake through the abyss of our time.”
“She offers the audience a broad pallette of options. Sometimes her voice sounds like a dream, then it sounds cheeky and sets out for determined height while still embedded in calm profundity. On the one hand she sings cheerfully and on the other hand she shows her regrets in a thoughtful manner about that ‘love can be a frightening enemy'.
She has the courage to show kitsch and doesn´t shy away from the idea of picking up Enzensberger´s “Abendstern” right up the roof. She lingers upon feelings just short of getting sentimental. Schubert´s “Ave Maria” Caven-style reminds one more of an explosion than an oldstyle lullaby.
Caven is a phenomenom of her own, she doesn´t fit any box – and certainly no German one. She can be a cheeky juvenile and at the same time an exalted ‘Grande Dame', Diva and Anti-Diva.
There is nothing that keeps her in a certain mood for long. In one moment she mourns in a thoughtful manner and then suddenly determinates to a fresh aggression. This artistic calculated way of being is what makes her so outstanding.”
“It originates from Caven´s invention that chanson-singers have to roll on the floor and on a grand piano Instead of showing it off, she prefers to hide the fact that she studied music in a very classical way. Her voice often sounds a bit dissipated – it almost compares to a sexy whisper followed by a thundering tremolo. A nocturnal ecstasy in the middle of melancholy and in-toxication, gutter and Grande Dame.”