Sovereign of legato, the American mezzo deploys silver and copper colors throughout her register, whose iridescent reflections go so far as to create light.

Jamie Barton made a generously warm-voiced and sensitive Angel, rising to the most glorious final “Alleluia” at the Proms in half a century.

Barton’s magnificent Brangäne was as authoritatively acted as it was movingly sung, an embodiment of the role in a production that fixed relentless attention on its principals.

A better cast imaginable for Das Rheingold is hardly imaginable. The chance to hear the American mezzo-soprano Jamie Barton in one of her best roles, that of Wotan's wife Fricka, is very special.

Barton is both a powerhouse and a whisperer. In performance, she can unleash a torrent of vocal sound that seems unconquerable in its heft and intensity — then turn on a dime and shape an intimate melodic phrase with aching subtlety. It’s an astonishing, almost otherworldly combination of gifts.

A revelation in an eyepatch… One of the most commanding performances I’ve seen in years, and a star turn to be sure.

You could almost feel the temperature in the Barbican Hall rise as wattage radiated from star American mezzo Jamie Barton. A singer who refuses to squash herself into small, pretty musical spaces, but instead spills joyously out over the lines, carrying us all along with her.

Barton—she of the withering sneer and creamy tone—ruled as an iconoclastic Carmen. If you were lucky enough to be in the audience…you won’t forget it.

Barton could do no wrong. She brought out the emotional punches with a deep gold tone, jaw-dropping power when needed and satiny textures.

A formidable Brangäne – an ample mezzo voice that gradually seduces with its expansive inflection…