Verismo Clients in Audi Magazine
"Atlanta is home not only to some of the most progressive and competent fine arts institutions in the U.S. but also to uniquely engaged creative communities. The fearless and empathetic role of the artist in Atlanta makes the place a paragon of a new American art mecca..." Mezzo Jamie Barton and The Atlanta Opera are featured in Audi Magazine's "Art x ATL" piece.
August 1, 2017
““Now, he’s been able to realize big, emotional blockbusters—like the epic wartime piece we saw—responsibly, by shrewdly collaborating with many other production companies. Not to spoil anything, but I cried a second time during the second act of Zvulun’s production of “Silent Night,” the performance completely overwhelming my expectations.””
As part of its "Art x ATL" feature, Audi Magazine interviewed mezzo Jamie Barton and The Atlanta Opera's Tomer Zvulun.
Jorge Mejia's Preludes Played by Simone Dinnerstein in Miami
"A full-scale and colorful mosaic. Mejia’s world is imagery, cinema, storytelling, and he doesn’t hold back..." Dinnerstein and the Havana Lyceum Orchestra feature Mejia's preludes in their first U.S. tour.
June 23, 2017
““A full-scale and colorful mosaic. Mejia’s world is imagery, cinema, storytelling, and he doesn’t hold back...””
Hosted by the New World Symphony, excerpts from Jorge Mejia's set of preludes were recently played by pianist Simone Dinnerstein, accompanied by the Havana Lyceum Orchestra in their first U.S. tour. Dinnerstein describes the preludes as “almost a genre of their own. Composed to be performed next to spoken text, they create a wonderful cinematic effect, full of vibrant colors and lush melodies.”
Read reviews and previews:
"To complete the panorama were Four Preludes for Piano by the Colombian Jorge Mejia – a full-scale and colorful mosaic. Mejia’s world is imagery, cinema, storytelling, and he doesn’t hold back. The composer narrated in Spanish before each prelude, in a trip through childhood and adolescence that portrayed his life experience, with Dinnerstein personifying it at the piano."
El Nuevo Herald
"The brilliant American pianist Simone Dinnerstein was the featured soloist in a program that included two Mozart piano concertos, four delightful sketches by Jorge Mejia, and Aaron Copland... Not since the Vietnam War have I seen our country so divided and discontent and with so little prospect for peace and unity behind our shared American values. But this concert showed me that we can, with good will, kindness and principled compromise, find ways to bridge our divisions and come together. Yes, we are turning, turning, but we will 'come ‘round right.'"
Miami Herald
"Opening the program is a special performance of preludes by composer Jorge Mejia. Each prelude is a piece of the story of Mejia’s life of coming from Colombia to the U.S. The story of his family and his sensitivity will be narrated in Spanish as the orchestra and piano play. 'To have a pianist of Simone Dinnerstein’s caliber and to have an orchestra like this performing the pieces is absolutely exhilarating,' said Mejia."
WLRN
The Atlanta Opera Brings Argentine Tango Opera to Life
“An unfailingly inviting and seductive soundworld…provided a comfortable entry point for what might otherwise have proved an elusive evening for many. Zvulun and his team can be proud of what could well become a new classic for Atlanta.” The Atlanta Opera continues its adventurous Discoveries series programming with Astor Piazzolla's Maria de Buenos Aires.
May 15, 2017
As part of this year's Discoveries series, The Atlanta Opera presented Astor Piazzolla's Maria de Buenos Aires, an operita based on Argentine tango. Performed at Le Maison Rouge, a burlesque space at Paris on Ponce on the Atlanta Beltline, the chamber piece transported audience members to the Argentine capital, complete with tango dancers. General and Artistic Director Tomer Zvulun's adventurous programming is earning TAO a reputation as a company where the gamut of operatic experiences can be enjoyed. The full run of Maria was sold out nearly a year before the first performance.
Read reviews:
“An unfailingly inviting and seductive soundworld…provided a comfortable entry point for what might otherwise have proved an elusive evening for many. Zvulun and his team can be proud of what could well become a new classic for Atlanta.”
Opera Magazine UK
"The latest offering in the Atlanta Opera’s Discoveries Series, Zvulun’s initiative to take the opera out of the opera house and explore more adventurous repertoire….[Maria was] a dream-like alchemy of jazz elements, chromaticism, and Argentina’s urban song. The suggestive choreography of the tango, highlighted throughout, infused the Atlanta Opera’s production with an undeniable authenticity."
Opera News
"Zvulun staged the show as immersive theater, taking advantage of Le Maison Rouge’s innate “red velvet bar” character to emulate that of a Buenos Aires tango bar and surround the audience with action at close range. The intimate approach and the venue’s evocative ambiance truly lent power to the performance."
ArtsATL
Riders Opera World Premiere Success Inspires $1 Million Donation
The impact of Craig Bohmler's Riders of the Purple Sage continues to be felt across the Southwest. Inspired by the success of Riders, major donors have now pledged a $1 million gift to Arizona Opera.
April 27, 2017
Scott Stallard remembers sitting in the Phoenix audience early last month and getting “goosies” the moment the curtain rose for Arizona Opera’s “Riders of the Purple Sage.”
“It was stunning,” Stallard said Monday. “We saw that show and we had a glimpse of the future and how increasingly exciting ... it is going forward. We just wanted to be a part of that.”
Last week, Stallard and his wife, Marlu Allan, donated $1 million to Arizona Opera to support bringing similarly exciting new works to the stage.
Jamie Barton Is Stellar in HGO Götterdämmerung, World Still Goes Down in Flames
"An international phenom with that dazzlingly creamy voice and commanding stage presence. With power to spare, she soars over the lush orchestration...to penetrate the wrenching heart of her tale." Mezzo Jamie Barton returns to Houston for the final installment of Wagner's epic Ring cycle.
April 25, 2017
Photo by Lynn Lane
Mezzo Jamie Barton returns to Houston Grand Opera for Götterdämmerung, the thrilling conclusion of Wagner's Ring cycle. Appearing as both Waltraute and 2nd Norn, Barton joins an all-star cast featuring Christine Goerke as Brünnhilde, Simon O'Neill as Siegfriend, Meredith Arwady as 1st Norn, Heidi Melton as 3rd Norn, and Andrea Silvestrelli as Hagen. Conducted by Patrick Summers, the production is the final installment in an artistic marvel designed by La Fura dels Baus.
Performances run through May 7; tickets can be purchased via the HGO site.
Read reviews:
"Mezzo Jamie Barton is already an international phenom with that dazzlingly creamy voice and commanding stage presence. As Waltraute, she shines most bright. Her account of father Wotan's fall into despair is an achingly beautiful mini-scene that displays her glorious voice to full effect. With power to spare, she soars over the lush orchestration...to penetrate the wrenching heart of her tale. It's a glorious performance from this gifted young artist."
Houston Press
"A fleet of extravagant women joins Goerke in this final installment, beginning with the three Norns—Meredith Arwady, Jamie Barton and Heidi Melton—who twist the strands of fate in the prelude with opulence and ease."
Houstonia
“Goerke and her Valkyrie sister Waltraute, sung by Jamie Barton, are two strong women, two strong dramatic singers, matching each other in anguish and intensity in a memorable scene.”
Arts+Culture Texas
“The central couple was surrounded by compelling portrayals. Mezzo-soprano Jamie Barton, a powerful Fricka earlier in the Ring, made an equally formidable Waltraute. Not only did her voice well up commandingly when her monologue foreshadowed the final catastrophe, but she brought weight and intensity even to the quietest moments.”
Texas Classical Review
Corinne Winters Is The Bee's Knees in San Diego's Art Deco Traviata
"As moving and vocally compelling as I have ever experienced...” Winters makes her San Diego Opera debut as Verdi's tragic heroine in a Marta Domingo production.
April 24, 2017
Photo by Katarzyna Woronowicz
““Sublime singing and acting...Winters showed why she’s one of the world’s top interpreters of the role. Her voice is creamy, delicate and flexible in the coloratura role, but she also brings a raw authenticity to her acting.””
Soprano Corinne Winters continues her 2017 trio of La traviatas with her debut at San Diego Opera. She is joined in Marta Domingo's art deco production by tenor Jesús Garcia and baritone Stephen Powell, with David Agler conducting.
The production runs through April 30; tickets can be purchased via San Diego Opera.
Read more reviews:
“Corinne Winters, who has made Violetta her signature role, gives a marvelous performance. She sparkles in the darker moments. Her high notes are magnificent; she is able to project her pianissimos perfectly, even in a recumbent position. Impressive technique, and a smooth, creamy, effortless sound throughout. When Winters is paired with velvety-voiced baritone Stephen Powell, magic ensues.”
Times of San Diego
"Corinne Winters gave an engrossing rendition of her role. Winters’ interpretation showed the audience both the public glamor of the celebrated nineteenth century courtesan and the private tragedy. Winters’ vocal and physical acting in the ensuing acts made her Violetta truly memorable. When she sang that love and understanding had come far too late, many audience members were in tears as the opera ended."
Opera Today
“It proved to be an auspicious San Diego debut for Corinne Winters in the title role. Her bright, lithe soprano jumped through all of the role’s coloratura hoops, yet it displayed warmth and body for her more lyrically sustained vocal confessions. Her incisive dramatic instincts energized every encounter, and her final act death scene was as moving and vocally compelling as I have ever experienced in this opera.”
San Diego Story
Juilliard Duo Pay Tribute to WWI In Song
“The general reaction we have gotten from audiences is that it not only educates them, but it delivers them to a place and time that is really hard to feel without the music. People can actually feel these moments deeply within their souls and spirits.” Baritone John Brancy and pianist Peter Dugan release A Silent Night: A WWI Memorial in Song this month.
April 6, 2017
““This recital was so different – so refreshingly, marvelously different... The goal of a recital is not originality as much as making a statement as an artist. And at this, Brancy and Dugan succeeded superbly.””
Since their 2014 professional recital debut at the John F. Kennedy Center for the Performing Arts, baritone John Brancy and pianist Peter Dugan have crisscrossed the continent performing music inspired by and written during World War I. Hailed by The Washington Post as “refreshingly, marvelously different,” their WWI tribute program features the music of British, German, French, and American composers who lived through, fought in, and died in the Great War.
Performed for rapt audiences at Carnegie Hall, Joye in Aiken Festival, St. John’s College, University of Chicago, and the Société d’art vocal de Montréal, this acclaimed program has now been captured in the duo’s debut album, A Silent Night: A WWI Memorial in Song.
As official commemorative partners of the United States World War I Centennial Commission and its French counterpart, Mission du Centenaire, Brancy and Dugan perform at an April 6 event for foreign and American dignitaries. Commemorating the centennial of the U.S. entry into WWI, In Sacrifice for Liberty and Peace takes place at the National WWI Museum and Memorial in Kansas City, MO.
Ahead of the album’s wide release, event attendees are able to purchase advance copies of A Silent Night, with all proceeds benefiting Arts in the Armed Forces, a non-profit organization founded by Brancy and Dugan's fellow Juilliard alumnus, actor Adam Driver. In hopes of bridging the gap between artist and soldier, AITAF performs contemporary American theater free of charge at military installations around the world, for active duty military servicemembers, veterans, military caretakers, and their families.
The album’s official launch will take place at the Yamaha Piano Salon in New York City on April 28.
Riders World Premiere Breaks Box Office Records, Earns Critical Acclaim
"This is what great art can do. It can energize a community." The world premiere run of Craig Bohmler's Riders of the Purple Sage is a runaway success.
March 6, 2017
““It blew away even my wildest expectations, financially or in terms of the public response. This is what great art can do. It can energize a community.””
Riders of the Purple Sage, Arizona Opera's first-ever world commission by Olivier Award-nominated composer Craig Bohmler, has shattered box office records for the company, now celebrating its 45th season.
Single ticket sales for Riders totaled $390,924 – the third highest in the company's 45 seasons. Total ticket sales were the highest for the company in twelve years, and total attendance for the world premiere run was 7,796.
The production has been hailed as a history-defining moment for Arizona Opera – one that has given the company a "seat at the big boy's table."
Read reviews:
"Suave melodies and distinctive motives...a fascinating work that deserves to be heard often."
Opera Today
"Monumental and well-crafted, Riders can lay claim to a rightful place in the canon of works about the American West. A dynamic and memorable production...resonates with authenticity in the voices of a superb cast...that merits the unequivocal standing ovation."
Broadway World
"Bohmler's cinematic score also has a very contemporary energy, with flashing violins of the sort that build excitement in the latest “Star Wars” flick. This engaging production is built on sturdy bones: iconic hero-and-villain characters, a suspenseful story and a score that’s studded with soaring, hummable melodies. There’s no denying the edge-of-your-seat energy..."
The Republic
"Bohmler’s score had strong references to classic Western film themes — it reminds us of the Silver Screen era Westerns without imitating them."
Arizona Daily Star
The Atlanta Opera Announces 17/18 Season
In the coming season, The Atlanta Opera will showcase its vision as a regional leader in the arts through innovative, theatrical productions of diverse works. The 17/18 season will also feature the first fully staged performances of Jake Heggie's Out of Darkness, in TAO's fourth consecutive season offering a contemporary work by an American composer.
February 8, 2017
Early look at The Flying Dutchman, designed by Jacob Climer with projections by S. Katy Tucker
““In 2017-18, we will collaborate with visionary theatrical and visual artists to ensure that everyone who comes through our doors can have a transformative experience. We will also perform 50 percent of our season in English, ensuring that newcomers to opera have a welcoming introduction. This season, we are focusing on the theme of ‘The Outsider,’ with programming that responds to our present moment, where so many communities feel on the fringe. This will include both contemporary stories and timeless works that resonate today.””
Centering on opera's fascinating outsider characters, The Atlanta Opera's 2017/18 mainstage season opens November 4 with Wagner’s The Flying Dutchman, in a new production by Zvulun, followed by Bizet’s Carmen, Donizetti’s The Daughter of the Regiment, and Sondheim’s Sweeney Todd. With these productions, TAO celebrates its 10th anniversary at the stunning, acoustically superior Cobb Energy Performing Arts Center.
The Discoveries Series returns in the fall for its fourth season. In response to quickly sold-out spring 2017 productions, this season will feature an expanded number of performances. The series includes Kurt Weill’s The Seven Deadly Sins, directed by Serenbe Playhouse Artistic Director Brian Clowdus, and the world premiere of Jake Heggie’s Out of Darkness: Two Remain, directed by Zvulun and starring Theatrical Outfit Artistic Director Tom Key.
Zvulun spoke with Schmopera about discovering Wagner and what he's most excited about in 2017/18.
Corinne Winters's 2017 Traviata Trifecta
"Opera is alive, and exists only from the downbeat until the curtain falls." The soprano sings Verdi's tragic heroine in productions at Seattle Opera, San Diego Opera, and the Royal Opera House Covent Garden this season.
February 7, 2017
This season, soprano Corinne Winters sings Verdi's doomed La traviata in debuts at Seattle Opera and San Diego Opera, and in her return to the Royal Opera House Covent Garden.
Winters, who considers Violetta her life's work, spoke with Bachtrack, Opera Sense, and Opera Wire about her signature roles, major house debuts, and why she identifies with the titular courtesan.
For performance dates, visit www.corinnewinters.com.
Photo by Fay Fox
Barton's Role Debut as Jezibaba Bewitches Audiences
"It’s hard to find adjectives superlative enough to describe her voice: huge and sumptuous, but with such broad possibilities of color that the singer can chill the blood with just a glint of steel in the tone. Lurching, heaving and writhing nonstop, she looked as if she might any moment explode out of sheer malevolence." Jamie Barton returns to the Metropolitan Opera in a new production of Rusalka.
February 4, 2017
Mezzo Jamie Barton, fresh from being named winner of the 2017 Beverly Sills Artist Award, makes her role debut as Jezibaba in a new production of Rusalka at the Metropolitan Opera.
Directed by Mary Zimmerman and conducted by Mark Elder, Dvorak's Czech fairy tale stars Kristine Opolais in the title role, Brandon Jovanovich as the Prince, and Eric Owens as the Water Sprite.
Performances run through March 2, and tickets can be purchased via the Met website. The February 25 performance will be streamed live in cinemas worldwide via the Met's Live in HD program.
Read reviews:
“What makes this show bearable, if not indeed indispensable, is the presence of the magnificent mezzo-soprano Jamie Barton as Jezibaba. It’s hard to find adjectives superlative enough to describe her voice: huge and sumptuous, but with such broad possibilities of color that the singer can chill the blood with just a glint of steel in the tone. Though I didn’t care for the jokey take on the character Zimmerman imposed on her, I was flabbergasted at how passionately Barton threw herself into the performance. Lurching, heaving and writhing nonstop, she looked as if she might any moment explode out of sheer malevolence. If everyone involved in this Rusalka were operating at Barton’s level, the Met would have its biggest hit of the decade. As it is, the company might be better off condensing the opera to a single hour-long act called Hello, Jezibaba!”
New York Observer
“The real marvel of the cast was Jamie Barton, who was absolutely sensational as the sorceress Ježibaba. Her voice was a wonder in itself, a full, shady mezzo with harrowing power, and fierce fire in her chest. Of everyone in the cast, she had the most success in navigating the cartoonish aesthetic of the production, hamming it up just enough to embrace the comic elements of the role, but never forgetting its essential darkness. Barton brings tremendous presence to the stage, coupled here with a specific and deliciously wicked vocal characterization.”
New York Classical Review
"As Jezibaba, Jamie Barton, in a wonderful spiderweb dress, blended comedy and cruelty, her pungent mezzo taking on a fierce brightness."
Wall Street Journal
“Barton is a lot of fun here. Her low mezzo is irresistibly rich and colorful, epic in size and effortless. (I’ve seen a lot of Rusalkas and hence a lot of Jezibabas and she is the best by a large margin.) She also shows real comic flair in a villain mode.”
Likely Impossibilities
“Jamie Barton, a recent winner of the Beverly Sills Artist Award, is a delightfully campy villain as the witch Jezibaba. Her meaty mezzo is wonderfully deployed, especially during the transformation set piece, in which Zimmerman likens Rusalka’s metamorphosis to a surgical intervention. The only drawback is the role’s brevity in a rather long evening, leaving the audience craving more of Barton’s superlative work.”
Parterre Box
“Barton, a mezzo from Georgia who is becoming a Met mainstay, is wickedly devious as Jezibaba.”
Huffington Post
“Jamie Barton as Ježibaba was gloriously demented as the wily witch. She gets to play some delicious comedy and sings with such skill, you feel like she is really capable of casting spells with sound.”
NY Theatre Guide
"Jamie Barton’s devilish Ježibaba was the highlight. Surrounded by half-human/half-animal henchmen, Barton brought such electric charisma that it was hard not to find affection for the wily sorceress."
Classical Source
"The extraordinary Jamie Barton is the vocal star of this production and outshines even Eric Owens, just as she outshone Plácido Domingo in the Met’s Nabucco this winter. Barton and her critters are terrifying: Her cackle froze the auditorium’s giblets."
New Republic
“As the crusty witch Jezibaba, mezzo-soprano Jamie Barton dug into her lower range with some dramatically appropriate guttural effects, but more than her predecessor Dolora Zajick, maintained grace and musicality no matter how nasty her sentiments.”
Operavore
Jamie Barton Receives 2017 Beverly Sills Artist Award
The $50,000 prize is awarded annually by the Metropolitan Opera to one of its most promising young singers.
January 31, 2017
“I am truly humbled to be receiving an award given in honor of Beverly Sills, whose lively presence helped opera shine even where classical music previously felt unreachable and elite. Her offstage commitment to cultivating and celebrating homegrown American artistry and her onstage collaborations with people from all walks of art – from “Sills and Burnett at the Met” to “The Muppet Show” and “The Tonight Show” – helped make opera accessible to all and addictive to many. Her ability to communicate an unfolding story with every vocal nuance continues to inspire me – it’s that kind of artistry that moves me as an audience member, and it’s the kind of storytelling I strive for in my own performances. To be not only honored by the Metropolitan Opera but also to become part of a legacy that includes such strong advocates for our art form is one of the greatest honors I can imagine.”
Photo by Jonathan Tichler
See what the New York Times had to say, and read an excerpt from the Metropolitan Opera below:
Mezzo-soprano Jamie Barton has been named the winner of the 12th annual Beverly Sills Artist Award for young singers at the Metropolitan Opera. The $50,000 award, the largest of its kind in the United States, is given to extraordinarily gifted singers between the ages of 25 and 40 who have already appeared in featured solo roles at the Met. The award, given in honor of Beverly Sills, was established in 2006 by an endowment gift from the late Agnes Varis, a managing director on the Met board. Barton, who came to prominence as a winner of the Met’s National Council Auditions in 2007, has distinguished herself in recent seasons with acclaimed Met performances of Adalgisa in Bellini’s Norma, Giovanna Seymour in Donizetti’s Anna Bolena, and Fenena in Verdi’s Nabucco. She is currently in rehearsals for her role debut as the witch Ježibaba in Mary Zimmerman’s new staging of Dvořák’s Rusalka, which opens February 2.
The Sills Award was created to help further recipients’ careers, including funding for voice lessons, vocal coaching, language lessons, related travel costs, and other professional assistance. Sills, who passed away in 2007, was well known as a supporter and friend to developing young artists, and this award continues her legacy as an advocate for rising singers. The 35-year-old Barton is the 12th recipient of the award, following baritone Nathan Gunn in 2006, mezzo-soprano Joyce DiDonato in 2007, tenor Matthew Polenzani in 2008, bass John Relyea in 2009, soprano Susanna Phillips in 2010, mezzo-soprano Isabel Leonard in 2011, soprano Angela Meade in 2012, tenor Brian Hymel in 2013, tenor Michael Fabiano in 2014, baritone Quinn Kelsey in 2015, and soprano Ailyn Pérez in 2016.
Corinne Winters Stuns in Return to Konwitschny Traviata
"Corinne Winters is an especially compelling Violetta, alternating power with subtlety...as heartbreaking as any I have ever seen." Corinne Winters appears as Violetta at Seattle Opera.
January 16, 2017
Corinne Winters returns to Peter Konwitschny's intermission-less La traviata in her Seattle Opera debut, alongside Joshua Dennis as Alfredo and Weston Hurt as Germont.
Winters triumphed in her European debut as Violetta in the same production at English National Opera, earning her both critical acclaim and a coveted Opera Magazine cover in the UK.
Performances run through January 28; tickets can be purchased from the Seattle Opera website.
Photo by Jacob Lucas
Read reviews:
"Konwitschny’s pared-down production places the focus firmly on Violetta, and Corinne Winters is theatrically and vocally the ideal fit for Konwitschny’s vision. An intensely compelling presence, Winters’ Violetta is by turns angry, vulnerable, and gritty. Fascinatingly, she was at her most desperately moving in the first act, showing compassion for Alfredo’s humiliation and physically shielding him from the taunting chorus. Vocally, her rich soprano best suits the spinto outbursts of Act II, though she ably navigated the Act I coloratura with fearless brilliance and a ringing E flat. Best of all, her nuanced shading and projection of the text eliminated the need for the projected supertitles."
Bachtrack
"Corinne Winters, as Violetta, brought her character to life with a rich, commanding soprano that gripped the audience from the first moment to the last. Her 'Sempre libera' shone through the starkness of the production to conjure up the demi-monde with her youth, beauty, lush voice, and passionate performance."
Seattle Gay News
"Soprano Corinne Winters, also in her Seattle Opera debut, as Violetta, ranges convincingly from sharp and fiery to meek and broken as bodily illness and social rejection catch up with her."
The Stranger
"On opening night the singers were in excellent voice, with Corinne Winters an especially compelling Violetta. She is a talented actor as well as singer, alternating power with subtlety; her performance of Violetta’s final aria was especially touching, as heartbreaking as any I have ever seen."
Seattle Post-Intelligencer
"Corinne Winters' Violetta is a sublime blend of fiery and fragile. Plus she has a gorgeously clear soprano voice, progressing with eloquent ease from fierce to desperate to seriously ill, on even the highest notes."
Queen Anne News
"Winters was the opening evening’s star as she performed a flawless Violetta. Winters achieved a convincing portrayal due to her terrific technique and her tasteful approach to the character... Hurt’s bronze-like voice combined magnificently with Corinne Winters’ fine vocal nuances in their duet of the Second Act, in the best moment of Saturday’s performance."
Opera World
"The young and slender Winters looked and acted the role superbly. She has the voice too, beautiful, expressive, and able to sing softly and expressively including on the highest notes, as she gradually fades to death in the last act."
The SunBreak
"From beginning to end, the opera is all Violetta’s. Winters sang Violetta in the original Konwitschny production at the English National Opera in 2013, and her familiarity with the role allowed her to perform it with full-blown confidence. With so many arias and duets – many when Violetta is taken down by her worsening consumption and sings on the floor or in other compromised positions – her secure strong soprano resonates. She does everything right in the role. Winters embraced Violetta so thoroughly that we don’t pity her. We are sad that she has to die, that she loses her true love, but she goes out with dignity, backing away triumphantly into those red curtains."
Oregon ArtsWatch
"What’s more vital is the singing, and here the show satisfies. To her sure-footed performance of her showpiece 'Sempre libera,' Corinne Winters brings a hint of a hard edge, making audible the desperation in her assertion to remain unencumbered following Alfredo’s declaration of love. That this was a choice and not a vocal given she demonstrated later in her satiny, quiet opening phrases in 'Dite alla giovine' and in the headlong passion of her farewell declaration, 'Amami, Alfredo.'"
Seattle Weekly
"On the plus side, there’s the singing, chiefly that of Corinne Winters in the title role. She is a beautiful and fearless Violetta, capable of both power and subtlety, and able to leap onto the lone chair during one of the most feared of all soprano arias, “Sempre libera.” An affecting actress, she made Violetta’s exuberance, despair, and inexorable decline in health all very clear."
Seattle Times
All Who Wander Is A Hit
"It’s the sort of instrument you could listen to all day, in any sort of repertoire." Jamie Barton's debut album is receiving critical acclaim from San Francisco to London.
December 31, 2016
“No one who has heard Jamie Barton in action is in any doubt about the American mezzo-soprano’s gifts. She boasts an expansive, robust vocal sound, tinged with richly varied colors, and she deploys it with a distinctive combination of heroic power and tender intimacy. So the splendors of her debut release don’t exactly come as a surprise. But that hardly diminishes the joy of listening to Barton’s expressive, full-throated performances.”
Jamie Barton's debut album, released November 11 on Delos Music, is earning rave reviews from San Francisco to London.
Accompanied by pianist Brian Zeger, All Who Wander features lush, romantic melodies by Mahler, Dvorak, and Sibelius.
Read reviews:
"The voice is rich, generous and vibrant, big but beautifully controlled, impeccably smooth throughout its range. It’s the sort of instrument you could listen to all day, in any sort of repertoire. This really is an exciting talent, and a terrific disc."
Gramophone
"Barton’s grand and rich voice is perhaps as big as Flagstad’s, Farrell, and Nilsson’s, with tone as beautiful and unforced as the first two singers’. Its compass extends from the bottom of the mezzo range to an easy, room-shaking high C. But as easily as Barton can envelop you with sound, she can also grab you by the gut, and propel you deep into the emotional heart of music’s great mysteries. It is the emotional depth of Barton’s artistry that sets her apart from other singers blessed with exceptional voices. She has the power to render you breathless and at her mercy. I expect that you, too, will marvel at how, as Barton expands her voice to huge proportions, her sound and heart also expand to encompass every emotion of a woman lost in memories of a great, lost love."
Stereophile
“Jamie Barton has one of the great voices in the world today. Sumptuous, flexible, and capable of light and shade, her sizeable mezzo pours forth seamlessly. Barton’s voice at full cry is thrilling to behold but the majesty of her instrument never overwhelms the songs. Her ability to lighten her tone, especially in the tricky upper middle voice, notably allows her to sing with expressive freedom. All Who Wander is everything a song recital should be. Delivering both familiar and unfamiliar fare in beguiling interpretations, Barton and Zeger take the listener into the world of each song with deft musicality and emotional sincerity.”
Parterre Box
“A rising star, Barton seems as comfortable on the concert platform as the opera stage. In these art-songs admirable throughout is Barton’s alluring tone and gorgeous phrasing. My highlight is Mahler’s magnificent Ich bin der Welt abhanden gekommen, a multi-faceted score full of world-weary introspection. In this intensely melancholic writing, Barton communicates a real sense of yearning to moving effect, which felt extremely spiritual. The text that aches with emotion in Um Mitternacht (At midnight) is enchantingly sung, maintaining an intense expression that adds to the dream-like quality of the writing and concludes with a sense of resignation.”
Music Web International
"Barton is the most important American mezzo-soprano since Stephanie Blythe, another phenomenon capable of singing everything, and very well. Instead of Bellini’s Adalgisa and Wagner’s Fricka, which are her calling cards on opera stages around the world, the singer opted for a more intimate and very demanding repertoire. Barton has been given a voice and that abundance of means could betray her; fortunately those fears are unfounded. Her instrument is a column of generous, opulent sound that dominates to the point of allowing her to completely abandon herself to the chosen material in order to concentrate on the interpretation."
El Nuevo Herald
"We listened to All Who Wander on a rainy afternoon in London; Barton’s singing is just as much a warm hug on a cold day as it is a refreshing breeze in the heat.”
Schmopera
"Barton’s voice is delicate throughout, a sound that the audiences are not accustomed to hearing in the opera house where her potent mezzo soprano exhilarates with its brilliance and forwardness."
Opera Wire
"Perhaps the song on the record which encapsulates best what Barton can do is Sibelius’ “Säv, säv, susa”. She conveys its arched structure from repose to violence and back again with real conviction, and the final long vowels are unbelievable.”
The Arts Desk
"She is emphatically her own artist. All Who Wander is a testament to Barton’s artistic individuality—and, equally importantly, to the depths of her talent. No, the Twenty-First Century has given us no Flagstad or Callas, but what a gift we have been given in Jamie Barton."
Voix des Arts
The Crossroads Project Lauded by Boston Globe
"At this point, environmentally oriented performances are nothing new, but this music is deep enough to engage on its own." Read more from the Boston Globe on the Fry Street Quartet's latest project.
December 16, 2016
“Its modes hop from inviting post-minimalism to electrifying dissonance to twisted nostalgia, ending with a pensive ascent. The Fry Street Quartet plays fluently and fluidly, with remarkable unity in unintuitive passages.”
The Fry Street Quartet's new release on Navona, The Crossroads Project, is featured in the Boston Globe.
Last month, a “king tide” brought Boston Harbor up to the sidewalk of Long Wharf, seawater flowing through cutouts in the concrete barriers. For those few hours, the border between the built and the natural shifted, creating a sense of dislocation and, for some, wonder. This liminal zone is the territory of the Fry Street Quartet’s recent release on Navona, “The Crossroads Project.” The Utah-based group performs commissions by American composers Laura Kaminsky and Libby Larsen. Both pieces center on themes of nature and sustainability, and are accompanied by topical narration and visuals when performed live; at this point, environmentally oriented performances are nothing new, but this music is deep enough to engage on its own.
Photo by Andrew McAllister
Jamie Barton Is The Cover Story in Opera News Magazine
"Jamie Barton channels her mezzo superpowers" and lands on the cover of the January 2017 issue!
December 15, 2016
“Jamie Barton’s voice is a vast, enveloping sound, the sort of thing soprano Carol Vaness calls “a voice that blankets.” This is true whether she is offering a Dvorák song in recital or holding the stage as Waltraute. But nowhere was it more in evidence than at the Glimmerglass Festival last summer. After her opening group of Turina songs, the heavens opened, and a major storm pelted the roof. Returning to the stage for a group of Ives songs, Barton merrily chirped, “Hi! It’s raining!” (It is hard to think of a singer readier than Barton to smile in a lieder recital or giggle offstage.) She then proceeded to override the storm with her voice, never losing quality of sound and never giving the slightest sign that she might be at her limits.”
Jamie Barton "channels her mezzo superpowers" and lands on the cover of Opera News magazine's January 2017 issue!
The Atlanta Opera Scores Artistic And Business Wins
The Atlanta Opera’s Silent Night “revealed a company unafraid to move in bold new directions, and with more than enough talent on hand to take a captivated audience along with it into the 21st century."
November 11, 2016
“The Atlanta Opera’s Silent Night revealed a company unafraid to move in bold new directions, and with more than enough talent on hand to take a captivated audience along with it into the 21st century.”
The Atlanta Opera's bold artistic and business moves are earning notice:
- General and Artistic Director Tomer Zvulun was nominated for an ArtsATL Luminary Award, a commemoration of the passionate, creative and innovative spirit of Atlanta's arts community.
- Behind the scenes, TAO reached a three-year labor agreement with its orchestra, ensuring that the company's growing quantity and quality of productions can be sustained.
- Onstage, the Pulitzer Prize-winning Silent Night was 'a stirring and ambitious performance (ArtsATL), at once 'heart-rending' and 'unforgettable' (AJC.com).
Jamie Barton Receives Raves on U.S./U.K. Tour
"She brought enormous power, rich colours and perfect intonation to the vocal line. This was highly emotional and yet beautifully restrained singing that really got beneath the skin of the music.” Jamie Barton's recent recital tour with pianist James Baillieu was 'ecstatically acclaimed' by audiences and critics alike.
October 23, 2016
“Barton has an excellent technique, evenly spanning a cavernous lower register and a gleaming top; her breath control is apparently effortless, she sings perfectly in tune. There’s something of Marilyn Horne about the silver sheen and focus of the tone, but the voice is bigger and broader than Horne’s, and more than capable of firing the big guns demanded by Verdi and Wagner. She is also a born communicator, smiley and chatty and radiating infectious pleasure in the glorious noise she makes.”
Jamie Barton's recital tour with pianist James Baillieu has been met with raves around the United States and United Kingdom, culminating in what The Telegraph dubbed an 'ecstatically acclaimed' Wigmore Hall debut in London.
Read more reviews:
"Although winners of the prestigious BBC Cardiff Singer of the World competition have recently shown an alarming tendency to vanish without trace, the 2013 laureate Jamie Barton is clearly here to stay."
The Telegraph
“I remember watching Jamie Barton’s performances during the Cardiff Singer of the World competition in 2013 and I was impressed with the amazing consistency she demonstrated through a wide range of repertoire. In Barton’s Wigmore Hall début, her operatic credentials were fully on display and she brought enormous power, rich colours and perfect intonation to the vocal line. This was highly emotional and yet beautifully restrained singing that really got beneath the skin of the music.”
Seen and Heard International
“Mezzo-soprano Jamie Barton and pianist James Baillieu certainly know how to begin a recital at Wigmore Hall, filling it with the warm, bold sounds of Joaquín Turina's Homenaje a Lope de Vega. Unrestrained, yet without sacrificing beauty of sound...their picks of Brahms Lieder, Dvořák's Gypsy Songs, and sets by Charles Ives and Jean Sibelius all seemed to give Barton the room her voice craves (and suited Baillieu's grounded, symphonic sound at the piano); yet they never missed an opportunity for subtlety. She...conjured up a real world of American warmth, with tight hugs and loud conversations. It's notable that Barton never stepped into the world of opera for this recital - though it would have been a sure hit if she had. It's exciting when a singer has enough tools and expertise at her disposal, and still earns ovations without the slam-dunk of a Verdi aria.”
Schmopera
“American mezzo-soprano Jamie Barton has a wonderful, characterful voice, with apparently effortless and even tone production and control. She seems to be able to spin out a quiet phrase – and just hold it forever. The fascination of witnessing Jamie Barton develop as a singer of the song repertoire promises to be a fascinating journey.”
The Arts Desk
Jamie Barton to Release First Solo Album on 11/11/16
All Who Wander features songs of Mahler, Dvořák and Sibelius, accompanied by pianist Brian Zeger.
October 19, 2016
Hailed by Alex Ross in The New Yorker as a “once in a generation talent,” mezzo-soprano Jamie Barton shares her deep appreciation for the art song repertoire, a cornerstone of her career, in her solo recording debut.
To be released by Delos Music on November 11, 2016, and featuring pianist Brian Zeger, All Who Wander includes selections by Gustav Mahler, Antonín Dvořák, and Jean Sibelius that speak to an adventurer’s spirit – savoring and reckoning with all of life’s experiences.
“All Who Wander is inspired by something that lives within all of us – the desire to step out of our ordinary lives, or society’s rules, and explore the world,” Barton said. “These songs share personal memories and thoughts, but the emotions they express are universal.”
Riders of the Purple Sage Featured in Etched Magazine
Craig Bohmler's world premiere at Arizona Opera is featured in the Fall 2016 issue.
September 1, 2016
"In just the first few pages of Zane Grey’s classic novel, Riders of the Purple Sage, fearless gunslingers and men on horseback tear through unforgiving mountains as emotions become as extreme as their surroundings: jealousy looms like a fatal precipice, and love ignites like a brushfire.
It’s a fitting opening for a story where the land and its inhabitants are inextricably linked, where every action takes its cue from the rough terrain, the lush plant life that thrives in spite of challenges, the rhythms of horse hooves and the crashing of storms.
It’s also a perfect beginning for an opera."
Riders of the Purple Sage, by composer Craig Bohmler, will receive its world premiere at Arizona Opera February 25 – March 5, 2017. Featuring baritone Morgan Smith, soprano Karin Wolverton, and tenor Joshua Dennis, the world premiere will be conducted by Keitaro Harada, directed by Fenlon Lamb, and feature set design by world-famous Southwest landscape artist Ed Mell.
Learn about the opera, based on Zane Grey's most famous Western novel, and purchase tickets.