Frugola / Zia Principessa / Zita in IL TRITTICO

Houston Grand Opera

“Equally impressive was the cast of singers, many of whom took on multiple roles between the three stories. Barton sang in each of the operas and did so magnificently as the earthy wife of a stevedore, Frugola (Tabarro), the icily aristocratic Principessa (Suor Angelica), and the grasping but not-too-bright Zita (Gianni Schicchi). Although Barton is a mezzo-soprano, her extended range added an extraordinary contralto depth and projection to her sound.”
–Houston Chronicle

“Barton is a magnificent harpy, cold and frozen as Lake Cocytus in the Inferno. In her black peplum outfit, with glittery pin and up-swept hairdo, she has the look of a bored Park Avenue matron. She nonchalantly smokes a cigarette as she delivers her news. She could be the evil stepmother in a gothic horror, dripping attitude and bereft of any familial feeling. She’s chilling…and delicious. Barton has a field day as battleaxe Zita, sashaying about like a Fellini cartoon.”
–Houston Press

“HGO complemented with company favorites, prime among them bass-baritone Ryan McKinny and mezzo-soprano Jamie Barton—each of whom has delivered an array of vibrant performances in operas old and new. Playing the scavenger Frugola, Giorgetta’s pal, Barton revealed a gift for bubbly joviality rarely glimpsed in  previous HGO roles. As Barton’s smiling Frugola chattered about her beloved cat and her hopes for a peaceful home with her husband, flashes of her voice’s familiar heft peeked through, though. Playing Angelica’s aunt, the Princess, Barton exuded hard-heartedness. Her demeanor was aloof and imperious, her voice full-throated but devoid of warmth. Yet Barton also let loose with a lyrical outpouring when the Princess described her visions of communicating with Angelica’s late mother. Among the members of the money-hungry clan, Barton was a picture of comic conniving as Zita.”
–Texas Classical Review 

“The ultimate standout is none other than Jamie Barton. An alumnus of HGO's prestigious Butler Studio, Barton has long established herself as an internationally acclaimed mezzo, celebrated for her commanding voice and emotional depth. Yet what truly sets her apart in Il Trittico is not only the sheer beauty and power of her instrument but her remarkable ability to disappear completely into each of her characters. She doesn't simply perform them, she embodies them, infusing every phrase with lived-in feeling and psychological nuance. Barton's innate dramatic instincts and vocal mastery make her performances among the most compelling currently gracing a Houston stage, a seamless blend of technical excellence and raw, human storytelling that lingers long after the final curtain.”
–Broadway World