Since her beginnings as a musician and eventually as a soprano, the music of her contemporaries has followed Anna Maria Pammer, and it was her multifaceted education (violoncello, recorder, singing, song, opera and a degree in history) which has shaped her programmatic and dramaturgic thinking. When confronting the relation between new music since around 1900 and preceding forms she found a field of tension that became the basis for her artistic development. She sees personal encounters, exchanges and collaborations with contemporary composers not only as an enriching, but as a sort of musical lifeblood. Among these composers are György Kurtág, Helmut Lachenmann, Hans Zender, Salvatore Sciarrino, Georg Kreisler, Gerhard Rühm, Sandeep Baghwati, Sofia Gubaidulina, Dieter Kaufmann, Keizo Ideta, Andor Losonczy, Iván Eröd, Kurt Schwertsik, Udo Zimmermann, Christian Utz, Gerd Kühr, Bernhard Lang, Manos Tsangaris, Peter Androsch, Rudolf Jungwirth, Michael Amann, Reinhard Fuchs, Tanja Brüggemann, Pierre-Dominique Ponnelle, Helmut Rogl, Clemens Gadenstätter, Bertl Mütter, Wim van Zutphen, Alexander Stankovski and last but not least Balduin Sulzer.
In developing her performances Anna Maria Pammer could often count on the cooperation of superb colleagues, among them the conductors Rudolf Barschai, Roberto Abbado, Dennis Russell Davies, Peter Keuschnig, Peter Rundel and Johannes Kalitzke, and on renowned ensembles, orchestras, and soloists such as the Arditti Quartett, the Gringolts Quartett, the Hagen Quartett, the Aron Quartett, the Diotima Quartett, the Zemlinsky Quartett, the Koehne Quartett, the Orchestra of RAI Turino, the SWR symphony orchestra, the RSO Vienna, the Bruckner Orchestra Linz, the Klangforum Vienna, the Basel Sinfonietta, the Ensemble Musikfabrik, the Ensemble „die reihe“, the Ensemble Kontrapunkte and Maki Namekawa, Gottlieb Wallisch, Florian Müller, Clemens Zeilinger, Ariane Haering, Patricia Kopatchinskaja, András Keller, Ilya Gringolts and Gidon Kremer.

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