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"During such a concert with manifold talents in evidence it would seem difficult to single out individual vocalists for their memorable efforts. Yet the performance given by mezzo-soprano Jamie Barton of Léonor’s aria “Ô mon Fernand” from Donizetti’s La favorite deserves particular recognition. Here was a voice that showed remarkable color and depth from the first notes of her aria. One admired the security of range as Ms. Barton’s voice lamented the fate of her love, the vocal line descending to heartfelt emotional depths at “Hélas! est condamné!” (“Alas! My love is condemned!). Her ascent to top notes on “tout” (“everything”) and “justice” and the cry of despair, which she took forte without a trace of harshness, prepared a transition to the middle section of the piece. At this point Léonor appeals to God for death. Her line, “fais-moi mourir” (“make me die”), performed by Ms. Barton with a fully rounded expressiveness, made the character’s entreaty all the more credible. In the last segment of the aria, taken at a brisker tempo, Ms. Barton’s melodic agility and dramatic high notes concluding on “sera morte avant ce soir” (“will be dead before tonight”) gave an exciting finish to this accomplished performance. As a whole, Ms. Barton’s aria was yet another example of the passion in which both singers and audience participate and about which Mr. [Anthony] Freud spoke as being an integral part of great operatic performances."
- Opera Today

"American mezzo Jamie Barton was the discovery of the evening. A grand finalist in the Metropolitan Opera’s National Council Auditions in 2007, she was riveting as the mournful young Leonor in "O mon Fernand…Mon arret descend du ciel" from Donizetti’s La favorite. Her voice was rich with myriad colors, full of velvety smoke in its lowest register and ringing with clarion strength at its upper reaches. Standing quietly, she conveyed a depth of regret and loss that was profoundly moving."
- Chicago Classical Review

"On the up-and-coming side, mezzo Jamie Barton, debuting here this season, was a rich-voiced showstopper, both in “O mon Fernand” from Donizetti’s 'La favorite' and in the added duet from Delibes’ 'Lakme' with dependable returning soprano Anna Christy."
- Chicago Sun Times

"Jamie Barton, a highly gifted young American mezzo whom Lyric has tapped to take on three supporting roles this year, showed why she's on opera's fast track with stunning readings of an aria from Donizetti's 'La Favorite' and her part of the 'Lakme' duet."
- Chicago Tribune

"The audience was treated to a tour-de-force with Jamie Barton’s performance of “Mon arrêt descend du ciel” from Donizetti’s La favorite, a piece that showed the range of the singer’s intensity and expression. Barton’s performance in the famous duet from Lakmé “Dôme épais” was similarly nuanced, as she shared the stage with soprano Anna Christy."
- www.seenandheard-international.com

"Mezzo-soprano Jamie Barton, featured in recent seasons by Wolf Trap Opera, displayed a full-throated tone and agile comic timing as the elephantine Maharanee in 'The Last Savage' and the randy Marthe in 'Faust.'"
- Washington Post

"Versatile and funny mezzo-soprano Jamie Barton stole the show as the enormous Maharanee, ferried around on a pink carriage."

"Potent mezzo-soprano Jamie Barton had a witty turn in the minor role of Marthe, and she could have stolen the show with a larger role."
- Ionarts

"Jamie Barton brought some welcome vocal heft to the brief role of Marthe."
- Wall Street Journal

"Jamie Barton's amusingly available, ample-figured widow Marthe gave Méphistophélès a run for his conniving money."
- Huffington Post

"Mezzo Jamie Barton (assorted OTSL roles since 2007) was simply all-around wonderful as the Maharani..."
- tawed.wordpress.com

"Marguerite's companion/nurse/housekeeper is so often sung by an over-the-hill mezzo, but here we get Jamie Barton, one voice I would definitely like to relish in some larger role."
- Opera West

"Jamie Barton brought a refined alto and a good sense of comedy to a successful, non-sterotypical take on Marthe."

"As the corpulent, sedan bound, Maharanee, Jamie Barton had a field day, and her full-throated mezzo rang out in the house. When she did alight from her perch and revealed her full measure (the well padded costume recalled Jane Eaglen in a biiiiiiiiiiig hoop skirt) , she struck real comedic sparks with Mr. Burdette."
- operatoday.com

"The star of the evening was the mezzo-soprano Jamie Barton, who sang five Sibelius songs with focus and passion. She rode the arching phrases of the beloved “Black Roses” and cooled her big, exciting voice for the dramatic switch from coy humor to stark disappointment in 'A Girl Came Home From Meeting Her Sweetheart.' It will be a pleasure to watch as Ms. Barton’s voice continues to settle and mature."
- The New York Times

"Former Gerdine Young Artist Jamie Barton, a mezzo-soprano with great flexibility and range, was such a snappy Marcellina one wished for the inclusion of her last-act aria."
- Opera News

"Mezzo-soprano Jamie Barton was terrific as Marcellina, hilariously dominating her scenes and singing with a big, beautiful voice."
- St. Louis Post-Dispatch

"...bass Matthew Lau and mezzo Jamie Barton make a wonderfully comic pair of connivers as Dr. Bartolo and Marcellina."
- KDHX.org

"Ms. Barton’s voice is exceptional—dark or bright, tender or powerful as she chooses—and her singing, from start to finish, displayed the kind of healthy, uncomplicated technical delivery that is equally rare in both young and seasoned artists. She has no detectable vocal quirks, mannerisms or crutches. Attacks are clean, unfussy and she can make a note bloom in any part of her range. She possesses a caliber of voice that doesn’t come along very often in the course of one’s lifetime and I, for one, hope to have the pleasure of hearing her for a long time to come."
- Operaticus.com

" Barton is a warm, smiling, effervescent presence with a uniquely colored instrument that seems to live on the higher edge of mezzo. She has a quick, bright vibrato that is often soprano-like, but she can also tap into dusky, French-horn-like tones. It's a quirky, fascinating voice, and for me, at least, Barton was at her most persuasive and distinctive on the second half of the program, in Libby Larsen's Love After 1950 and one cabaret song each by Satie, Schönberg and Bolcom. Barton's voice really came to life here; she was more consistent technically, and she delivered the songs with unerring style and self-aware humor."
- Opera News

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Opera News

"Having Jamie Barton perform Emilia is an example of luxury casting. When she finally does have her moment - in the final act when she reveals Iago’s subterfuge with the handkerchief - it really counts for something."
- ConcertoNet.com

"American mezzo-soprano Jamie Barton, whom “Opera News” calls “a rising star with fine acting skills and a sumptuous voice”, gave a fantastic first Kennedy Center recital on December 10. Barton's rich, powerful voice entranced the Terrace Theatre audience."
- Marsha Dubrow at examiner.com

"The two songs by this Russian great that closed the program were the highpoint for many, as Barton found the perfect balance between living-room restraint and the roiling passions in the music. Or, as the Georgia native cautioned those gathered before the first Rachmaninov, “Ja Khdu Tebya”: 'This is a gonna get loud, y’awl.'"
- John DeMers at houstonartsweek.wordpress.com

"The powerful work culminated in "Lamentation" — here the CSO perfectly balanced mezzo-soprano Jamie Barton's mellifluous, rounded tone that exquisitely rendered the deep sorrow and profound loss of the foretold destruction."
- Denver Post

"The piece built beautifully until Ms. Jamie Barton came in from the upper balcony with a stunning mezzo cutting through the stillness of the strings brought down to a mere sigh by Cesa-Goje – absolutely breath-taking." ... "The drama intertwined with passionate emotions and Ms Barton over top it all as if there was nothing could keep her voice from reaching up to heaven."
- Chip Michael at interchangingidioms.blogspot.com

"Jamie Barton, as Penelope, grabbed the ear with her lush, burnished mezzo and deeply communicative nuance. Despite the one-note nature of the perpetually pining character, Barton provided great tonal and expressive variety throughout the opera. Like [Dominic] Armstrong, she sounded very much like a singer with a future."
- Opera News

“Penelope, the stoic wife who has been waiting two decades for the return of Ulysses, provides the emotional and musical core of the opera. Monteverdi gave the character some of his most compelling melodic lines, and mezzo Jamie Barton made the most of them, singing with a lush, burnished tone and expressively nuanced detail. Like [Dominic] Armstrong, she sounded very much like a singer with a future.”
- The Baltimore Sun

“Jamie Barton brought regal grandeur to steadfast Penelope, humanizing a role that risks being as dull as the unswerving virtue she represents.”
- Washington Post

“As much put-upon Penelope, mezzo Jamie Barton selflessly did what she was asked by stage director James Marvel, putting on a mournful face and lamenting in broad, almost funereal tones, her dreadful fate.”
- Washington Times

“Penelope was Elvira in mourning as she laid bare her wretched longing with heartbreaking intensity, the long red hair that she anxiously pulled out in clumps offset by dramatic Kabuki-style eyebrows and sparkling black Morticia Adams dress.”
- Shadowtime NYC (blog)

"Her lovely, rich voice was perfectly suited to Mahler's score. Because of her experience in the world of opera, she was able to handle the interpretive details of the many verses of this folk sermon. ...Later in the program, she gave a fine account of "Songs of Wonderment and Love," a set of three beautifully crafted pieces by the American composer Richard Hundley (b. 1931). And she tickled our collective funny bone with "Of Gods and Cats," two short songs by Jake Heggie (b. 1961) with texts by Gavin Dillard."
- The New York Amsterdam News

"The gleaming sound of soprano Ava Pine and Houston Grand Opera Studio mezzo-soprano Jamie Barton rang radiantly in front of the group of violinists, Baroque flute, harpsichordist, Baroque cello/viola da gamba player and violone. ...Barton was pensive then brilliant in Priva son d'ogni conforto (Deprived of all comfort) and Non ha più che temere (I have nothing more to fear)."
- Houston Chronicle

"...Mezzo-soprano Jamie Barton came close to stealing the show with her over-the-top witch."
- Aspen Times

"Jamie Barton, a rising star with fine acting skills and a sumptuous voice, lent authority to the role of Suzuki."
- Opera News

"Mezzo-soprano Jamie Barton was a sensitive, supportive Suzuki who made every glance and gesture meaningful. Her voice is a gorgeous, mellow instrument. She and [Kelly] Kaduce blended perfectly in the Flower Duet."
- STLToday.com

"Both vocally and dramatically, Jamie Barton is an appealing Suzuki."
- The Dallas Morning News

"Mezzo-soprano Jamie Barton delivers another powerful performance as Cio-Cio-san’s loyal servant..."
- The Ladue News

"Jamie Barton sang Suzuki with a creamy mezzo-soprano and excellent diction, and kicked up the pathos a notch with her devotion to Cio-cio-san."
- Operatoday.com

“Gerdine Young Artists provided a richly varied ensemble of sharply drawn characters… rich-voiced Jamie Barton was the dutiful, no-nonsense Annina.”
- Opera News

“Mezzo-soprano and [Tanglewood Music Center] fellow Jamie Barton gave an impressive performance of Olly Wilson’s 1976 Sometimes, for voice and tape, a haunting piece based on the spiritual “Sometimes I Feel Like a Motherless Child.”
- ArtsBeat

“[Olly] Wilson’s work, a wide-ranging set of variations, expansions and fragmentations within a texture of swirling recorded voices and electronic sounds, was sung with gospel-powered fervor by Jamie Barton, a mezzo-soprano.”
- New York Times

“The Requiem’s poignant “Pie Jesu” (“Gentle Lord Jesus, grant them eternal rest”) was sung with resonance and persuasion by Jamie Barton.”
- Herald Times

“Particularly noteworthy were Kevin Murphy as Dr. Gibbs, Jamie Barton as Mrs. Soames and Juliet Gilchrist as Mrs. Webb.”
- New York Times (February 27, 2006)

“The rest of the cast was uniformly accomplished, with standout work in two character roles — Juliet Gilchrist as Mrs. Webb, Emily’s mother, and Jamie Barton as Mrs. Soames, the town busybody.”
- Opera News (May 2006)

“Saturday evening's pair of stepsisters proved particularly absurd as played and sung by Georgina Joshi and Jamie Barton.”
- Herald Times