"Thomas and Jamie Barton, whose mezzo pours out like lava, are luxury casting as the star-crossed lovers, Ismaele (Israelite) and Fenena (sigh, Babylonian)."
–Zachary Woolfe, The New York Times
"In the role of political pawn Fenena, mezzo-soprano Jamie Barton brought suave, sculpted phrasing to the big ensemble “Tremin gl’insani” and delivered the last-act meditation, “Oh dischiuso è il firmamento,” with concentrated intensity."
–Judith Malafronte, Opera News
"Jamie Barton and Russell Thomas are appealing as the lovers Fenena and Ismaele. Barton is especially moving, her dramatic commitment deepening a role that might be merely tossed off as one-dimensional. Her mezzo is elegant and rich as well..."
–Patrick Clement James, Parterre Box
"As Nabucco’s virtuous daughter Fenena, Jamie Barton was affecting and sensitive in her prayer on the threshold of martyrdom."
–Eric C. Simpson, New York Classical Review
"Jamie Barton brings all of that experience into her role in this production, delivering the coy, victimized Fenena with glorious craft."
–Jacquelyn Claire, NY Theatre Guide
"The too-small roles of Fenena, Nabucco’s daughter, and her boyfriend Ismaele were cast from remarkable strength, with Jamie Barton as the former, particularly lovely in her final act cavatina..."
–Robert Levine, Bachtrack
“Barton gets little to sing, but with her velvety and lyrical voice elicited much sympathy for her character.”
–Jim Pritchard, Seen and Heard International
"As Fenena, Barton’s characterization matched the delicate vocal lines of Verdi, a sharp contrast from Monastryska’s more emphatic Abigaile. At the end of the work, she sings a prayer to God, a passage that Barton delivered with refined legato and sustained line (she took few breathes throughout, giving the singing a seamless and elegant polish)."
–David Salazar, Opera Wire
"Jamie Barton as Fenena made one regret that Nabucco's daughter has little to sing."
–Martin Bernheimer, Financial Times