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!

As Ježibaba, Jamie Barton relished her witchy duties and gave an unstinting performance with clarion tone especially at both ends of her voice.

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.