Jamie Barton Makes Acclaimed Royal Opera House Covent Garden Debut

June 9, 2016

Photo by Catherine Ashmore for Royal Opera House

This month, mezzo Jamie Barton made her Royal Opera House Covent Garden debut as Fenena in Verdi's Nabucco, opposite Plácido Domingo in the title role.

The second performance was shown via live, free outdoor relays as part of the BP Big Screens initiative, and was watched by fans around the world via the ROH YouTube live stream.

The cast also stars Liudmyla Monastyrska, John Relyea, and Leonardo Capalbo. Conducted by Maurizio Benini, performances run through June 25. Tickets are available on the Royal Opera House site.

Domingo, Monastyrska, and Barton will also appear in the Metropolitan Opera 2016/17 production of Nabucco, conducted by James Levine.

Read reviews:

"Jamie Barton is a first-rate Fenena."
The Guardian

"Jamie Barton as Fenena reveals a rich and full mezzo-soprano that is also capable of displaying great sensitivity."
musicOMH

“Making her Royal Opera debut as Nabucco’s true daughter, the American mezzo uncovered a good deal more in Fenena, impressing with her warmth and richness of tone matched by a purposeful line and convincing dramatic engagement.”
Opera

"I wish the score had provided more opportunities for the young lovers Ismael and Fenena – what little Jean-François Borras and Jamie Barton did as Ismaele and Fenena was very fine."
The Telegraph

"Jamie Barton made a promising Covent Garden début as Fenena, showing good timbre and nice control of line. Fenena and Ismaile are considerably lesser roles than the other three, but Barton and Jean-François Borras made a good fist of them, particularly effective in ensemble."
BachTrack

"Jamie Barton and stand-in tenor Jean-François Borras play lovers Fenena and Ismaele; the former in beautiful voice…"
Londonist

"Making her debut with the Royal Opera, American mezzo Jamie Barton seizes her lyrical opportunities as Nabucco’s true offspring Fenena."
The Stage

“Monastyrska’s Abagaille had a worthy rival for once. Admittedly Fenena is a sketchy role: Verdi had not yet fully realized the value of contrasting or opposing females, the structure that grounds Trovatore or Aida. But this Fenena was Cardiff Singer of the World in 2013 and the winner of last year’s Richard Tucker Award, the redoubtable Jamie Barton in her Royal Opera debut. This was luxury casting indeed, affording the extraordinary pleasure of watching and listening as, in the finale of the first act, each ‘sister’ anchored opposite sides of the stage and soared over the ensemble.”
Opera