|
|
|
Great Singers III: Evenings of Song
Carnegie Hall, NYC |
|
|
"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 |
|
|
Canadian Opera Company
Otello |
|
|
"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 |
|
|
Washington, D.C.
Kennedy Center debut |
|
|
"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 |
|
|
Houston, TX
Ars Lyrica Fundraising Party |
|
|
"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 |
|
|
Colorado Symphony
Jeremiah Symphony (Bernstein) |
|
|
"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 |
|
|
Wolf Trap Opera
Il ritorno d'Ulisse in patria |
|
|
"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) |
|
|
Marilyn Horne Foundation "On Wings of Song" Recital: Weill Hall
|
|
|
"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 |
|
|
Ars Lyrica: Legendary Lovers
|
|
|
"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 |
|
|
Aspen Music Festival
Hansel and Gretel, 2008 |
|
|
"...Mezzo-soprano Jamie Barton came close to stealing the show with her over-the-top witch."
- Aspen Times |
|
|
Opera Theatre of Saint Louis
Madame Butterfly, 2008 |
|
|
"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 |
|
|
Opera Theatre of Saint Louis
La Traviata, 2007 |
|
|
“Gerdine Young Artists provided a richly varied ensemble of sharply drawn characters… rich-voiced Jamie Barton was the dutiful, no-nonsense Annina.”
- Opera News |
|
|
Tanglewood Music Center
2007 |
|
|
“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 |
|
|
Durufle Requiem
Bloomington, IN - 2007 |
|
|
“The Requiem’s poignant “Pie Jesu” (“Gentle Lord Jesus, grant them eternal rest”) was sung with resonance and persuasion by Jamie Barton.”
- Herald Times
|
|
|
Our Town
2006 world premiere |
|
|
“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) |
|
|
Indiana University Opera Theatre
La Cenerentola, 2004 |
|
|
“Saturday evening's pair of stepsisters proved particularly absurd as played and sung by Georgina Joshi and Jamie Barton.”
- Herald Times |
|
|
