So, give me three good reasons we should not hear Jamie Barton as the mother of Salomé?
Tell us: What was the best of 2025?
Parterre Box concludes the thrilling first year of Talk of the Town by inviting your lightning rod opinions on several more categories of operatic argumentation.
After the break the ladies stepped up their game so much that it elevated the night into legendary status: definitely one for the books!
Jamie Barton makes her highly-anticipated debut as Carmen opposite the legendary Stephanie Blythe as her alter ego Blythely Oratonio. As Don José!
As Julia Child, Jamie Barton is clearly having the time of her life.
It struck me that Jamie Barton’s voice is not dissimilar to a Henry Moore sculpture: grand and monumental but never brash or ostentatious; eccentric and offbeat but always graceful and tastefully molded.
My first-ever Met Sunday opera brought the welcome return of Gluck’s sublime Orfeo ed Euridice in an enchanting afternoon that combined elegant conducting, joyous dancing and Jamie Barton’s extraordinary hero.
Gluck’s sublime Orfeo ed Euridice makes a welcome return to the Met.
Jamie Barton graces the Last Night at the Proms starting at 2:00 PM EDT.
Our Own Jamie Barton graces the Last Night of the Proms with her “queer fat femme energy.”
Says Jamie Barton: “It’s so important for me to stand up proudly as a bisexual woman.”
[Twitter]
Suddenly in the middle of March 2019 the Metropolitan Opera realized that perhaps a few of the company’s multitudes of stagehands and technicians might be of the feminine persuasion.
I had a panic attack, that’s how moved you made me.
In her debut solo album, Jamie Barton surrounds Gustav Mahler’s staples of the song repertoire, Rückert Lieder, with the less familiar Gypsy Songs of Antonin Dvorák and select songs by Jean Sibelius.
With a cast of stellar singers and uneven direction by Mary Zimmerman, Dvorák’s Rusalka debuts in a new production at the Metropolitan Opera.
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 Richard Tucker Music Foundation’s annual gala promises (note, promises) a particularly glittery roster this year.
Remember that time you went to the opera and the entire evening was perfection?
The annual Richard Tucker Gala is probably the event of the year to indulge your love of verismo staples and can belto screaming.
“This throwback to the golden age of opera—superhuman singing greeted with frenzied ovations—was a function of a perfect storm of excitement.”
The Metropolitan Opera’s much vaunted so-called “Tudor Ring” of three royal operas by Donizetti got off to a bumpy start Saturday afternoon with a revival of Anna Bolena that stubbornly refused to cohere either musically or dramatically.
Mezzo-of-the-moment Jamie Barton’s future Met assignments include . . .
In a decision La Cieca doesn’t think anybody is going to dispute, the Richard Tucker Foundation has named mezzo-soprano Jamie Barton their 2015 award winner.
Having heard a bit of the opening night broadcast and read some decidedly mixed reviews, I was totally unprepared for the remarkable performance of Donizetti’s Anna Bolena that I attended on December 15 at Chicago Lyric Opera.
