As is often the case in these Gurre-Lieder, the mezzo steals the show. Barton has the privilege of serving one of the peaks of the work. Above all, she has superb projection which allows her to find superb phrasing.

Further complicating lives is the occupying king’s daughter Amneris, played by powerhouse Jamie Barton, who has targeted the affections of Radamès for herself.

An extraordinary event…the quartet of soloists, including Jamie Barton, magnificently projected the verses of Goethe. The public's trance, as soon as the final chord fades, reflects the just enthusiasm that such an accomplished interpretation of this world work arouses.

Jamie Barton’s debut in Valencia with the Wagnerian Wesendonck Lieder was a real revelation. She only needed a few phrases from the first song to captivate us with her beautiful instrument, and the last two songs delivered the absolute height of vocal and expressive brilliance.

Jamie Barton is synonymous with excellence; is there any performance where she delivers less than her best? The character of Elizabeth Van Lew was tailor-made for Barton’s prowess.

Jamie Barton provides the dramatic spark as the haunted, raddled Azucena — she chomps into text and music alike with wonderful vibrancy.

American mezzo-soprano Jamie Barton was a glorious Brangäne, filling out Wagner’s vocal lines with her plush, rich, warmly burnished mezzo voice.

Jamie Barton couldn't have been more captivating, full of pain and longing. Some of her sentences had a beautiful pleading intensity, made all the more powerful by the graceful control she displayed.

Jamie Barton’s Mother Marie couched difficult truths in a plush voice — warm and consoling but also exacting and uncompromising.

The most musical moments of the show. What intentionality in the pathos of her Amneris, what suffering! What a moment in her supplications to the priests! What accents, what fury... and what penetrating intensity!