Barton’s nuanced performance is intriguingly conflicted and tormented…

The mezzo-soprano was riveting – Barton’s high notes soared like a bel canto soprano and her growling chest voice had a disturbing, almost feral quality. She charted the imprisoned Azucena’s psychological disintegration with an almost clinical degree of vocal and dramatic acuity…

Barton runs the gamut from hallowed pianissimos to powerful, true Verdian chest voice…

A very beautiful, round, warm voice that makes her long phrases flow beautifully…

Barton, as Sara, gave a performance rich in pathos and cloaked in the thickly upholstered vocal colors that make her singing so irresistible…

Impeccable diction and voices of real substance get the opera off to a tremendously powerful start… Previously impressing mightily for both power and beauty of line as the cycle’ Fricka, Jamie Barton delivers an equally radiantly sung Waltraute…

Jamie Barton, singing so beautifully in Das Rheingold, proves she has vocal balls of steel as well, delivering a Fricka of power and considerable subtlety. The voice is still creamy, but when the top notes fly, the audience are pinned to their seats…

Vocal honours are due to Jamie Barton’s sumptuous Fricka, blessed with razor-sharp diction and an instinctive way with the words…

Mezzo Jamie Barton, conquering international singer, supplies smoky velvet tone and incomparable artistry... When you hear Barton's glorious plangency, you want this opera renamed Adalgisa…