Fenena in NABUCCO
Royal Opera House Covent Garden
"Jamie Barton is a first-rate Fenena."
–Erica Jeal, The Guardian
"Jamie Barton as Fenena reveals a rich and full mezzo-soprano that is also capable of displaying great sensitivity."
–Sam Smith, musicOMH
“Making her Royal Opera debut as Nabucco’s true daughter, the American mezzo uncovered a good deal more in Fenena, impressing with her warmth and richness of tone matched by a purposeful line and convincing dramatic engagement.”
–George Hall, Opera
"It's a treat, too, to hear the 2013 Cardiff Singer of the World, the American mezzo Jamie Barton, sounding refulgent as Fenena..."
–Mark Valencia, What's On Stage
"I wish the score had provided more opportunities for the young lovers Ismael and Fenena – what little Jean-François Borras and Jamie Barton did as Ismaele and Fenena was very fine."
–Rupert Christiansen, The Telegraph
"Jamie Barton made a promising Covent Garden début as Fenena, showing good timbre and nice control of line. Fenena and Ismaile are considerably lesser roles than the other three, but Barton and Jean-François Borras made a good fist of them, particularly effective in ensemble."
–David Karlin, BachTrack
"American mezzo soprano Jamie Barton, making her debut at Convent Garden, and French tenor Jean-François Borras added a welcome touch of lyricism as the ‘star-crossed’ beloveds, Fenena and Ismaele. Barton in particular used her big voice with considerable expressivity, gliding easily and with sumptuousness through the lyrical phrases."
–Claire Seymour, Opera Today
"Jamie Barton and stand in tenor Jean François Borras make a delicious pair of lovers..."
–Alexandra Coghlan, The Spectator
"Jamie Barton and stand-in tenor Jean-François Borras play lovers Fenena and Ismaele; the former in beautiful voice…"
–Holli-Mae Johnson, Londonist
"Making her debut with the Royal Opera, American mezzo Jamie Barton seizes her lyrical opportunities as Nabucco’s true offspring Fenena."
–George Hall, The Stage
“Monastyrska’s Abagaille had a worthy rival for once. Admittedly Fenena is a sketchy role: Verdi had not yet fully realized the value of contrasting or opposing females, the structure that grounds Trovatore or Aida. But this Fenena was Cardiff Singer of the World in 2013 and the winner of last year’s Richard Tucker Award, the redoubtable Jamie Barton in her Royal Opera debut. This was luxury casting indeed, affording the extraordinary pleasure of watching and listening as, in the finale of the first act, each ‘sister’ anchored opposite sides of the stage and soared over the ensemble.”
–Russ McDonald, Opera