Amneris in AIDA

Teatro Real, Madrid

“To embody the most fascinating character in all of opera, the Real used Jamie Barton, who offered such good results in that Favorite where she outshined Camarena. She emerged the winner, or deservedly tied with Beczala, in the final applause… She dominated with complete security and vibrant accents.”
–El Debate

“In the second half, especially in the duet with Radamés and in her solo aria – wow, to hear her! Overwhelming and a tremendous singer...vocally extraordinary.”
–El Español

“The premiere – with the fans sharing seats with the entire political, economic and social power of the country, and the kings in the box – was full of bells. The mezzo Jamie Barton and the soprano Krassimira Stoyanova as Amneris and Aida, embroidered their roles. In some of the best-known pages in the history of opera, they gave us much delight.”
–Shangay

“Amneris was the American mezzo soprano Jamie Barton, who returned to the Teatro Real after her magnificent Favorite 5 years ago. She gave an outstanding performance as the Pharaoh's daughter [with] her beautiful and ample voice, giving a good characterization.”
–Seen and Heard International

“A full, intense, and perfectly placed vocality, reflecting the moral and emotional contradictions of the character.”
–Bachtrack

“Finding the right balance is never easy for Amneris, both Aida's ruthless rival and Radamès' love interest, leading her to beg for clemency after wreaking revenge. Barton is perfectly at ease there. On one side, she employs her low range or pours out in lightning highs… On the other side, she knows how to lighten her voice as much as possible, using piani to translate the sensitivity of this torn woman. She thus delivers a beautiful interpretation… undeniably, of a very high standard.”
–Opera Online

“The American Jamie Barton debuted in the role of Amneris, depicting the “rival” category. Seeing how her voice unfolded throughout the production, Barton was exultant at the start of the last act, with L'abborrita rivale. Extraordinary, with a meaty, seductive, colored bass... followed by the duet with the tenor. This, together with the conclusion of the previous act, were 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!”
–Platea Magazine

“Immediately, it is the character of Amneris who has the opportunity to show herself, this time with the intense voice of Jamie Barton, in the grand tradition of great low voices. Insofar as the conflict has already been sketched out, the character of Amneris has the opportunity to assert her prerogatives: a success for the American mezzo.”
–ConcertoNet

“Among the cast, it is worth highlighting Jamie Barton as Amneris… She is an intense mezzo-soprano with a meaty voice, potent in all registers, musically solid, and expressively strong over a powerful volume of sustained presence.”
–Scherzo

“Star of the night: Barton maintained the spotlight on the stage, providing a potent characterization as Amneris with a rich dark sound, strong low register, and ringing high notes. She was the undoubtedly strongest voice in this cast and her voice was strongly present during the big second act concertante, emitting two strong B naturals that were perfectly audible over her colleagues, the choir, and the forte orchestra; it’s a truly stunning feat when you consider that Aida and the entire soprano section of the choir are all singing high notes. The highlight of her performance was her long scene in Act four – the duet with Radamès and the subsequent confrontation with the priests. Here we saw Barton use all of her dramatic resources to deliver a strong character arc of seeing Amneris beg Radamès for his love, her disappointment at his refusal, followed by her terrible rage against the Egyptian priests once Radames is condemned to be buried alive. She ended the scene with a thunderous high A natural, as well as culminating the last bars of the opera with sonorous and pained low D flats on ‘Pace t’imploro.’”
–OperaWire