Soloist in DAS LIED VON DER ERDE

BBC Philharmonic Orchestra

“Barton has the stillness, the tonal range and the imaginative and emotional commitment these songs demand. Her entry in Der Einsame im Herbst was perfectly judged, like a continuation of the long, haunting oboe solo; she managed the empty desolation of ‘Mein Herz ist müde’ and the passionate anguish of ‘Sonne der Liebe’ alike. She captured the warmth of Von der Schönheit and stayed in the saddle with Mahler’s galloping young lads. Der Abschied deserves a review to itself: it was wonderful.”
–Seen and Heard International

“Mezzo-soprano Jamie Barton, now a Proms regular, was joined by Clay Hilley, the makings of a dream team for the Mahler. They both possessed the size of voice to ride the wave of a huge orchestra, but also the sensitivity and ability to communicate the depth and emotional weight of the text… Barton followed with autumnal tones, bright at the top of her range, richly golden at the bottom. For Beauty, Barton matched the flutes’ fluttering delicacy with a crystal line, and Bihlmaier brought the orchestra right down, allowing Barton to colour her delivery with sensuous slides, shimmering with golden sunlight. Any sense of frivolity was swept away for Der Abschied. Barton’s heartfelt expression was matched with beautiful delivery of Mahler’s orchestral word-painting. Barton exuded warmth for “Die liebe Erde” before the final tragic “Ewig” repetitions brought the evening to a sombre yet peaceful conclusion. Bihlmaier and Barton held the hall in total silence for what felt like an age before a collective relaxation was finally permitted.”
–Bachtrack

“Jamie Barton was a dignified presence, and she seemed to choose emotion over simple beauty of tone. This was a contained yet intense account of the song. The orchestra was light and delicate for the opening of 'Beauty' contrasting with Barton's rather darker, steadier approach. She was telling a story and somewhat relished the contrast between voice and orchestra. In the moments when the orchestra relaxed and gave her space, her delight was palpable. Then came 'Farewell' (Der Abschied). There was space here for Barton, and she was artful yet affecting, but dignified too. Barton's dignified emoting was paired with some strong orchestral colours and a constant sense of impetus allied to fluid tempos. Towards the end of the first half we did get more expansive phrases, yet there was also the magic of her quiet intensity contrasting with just the solo flute. In the second part, Barton was dignified, the music flowing yet with classical discipline. In the final stanza she did let go, though the repeated 'Ewig' was very internal and concentrated.”
–Planet Hugill