"Ms. Barton […] has a big, rich voice from the top to the bottom of its range. Singing her first major role at the Met, she entered on Thursday with joyful seriousness and clarity of purpose, tenderly reaching toward the chains of mistletoe left at the altar from the Druids' rites. In her aching aria, 'Deh, proteggimi, o Dio,' she seemed actually at prayer, a private moment on which the audience spied."
Zachary Woolfe, The New York Times, October 25, 2013
“But the night belonged to Jamie Barton, recent winner of Cardiff's Singer of the World competition, and a sensitive, attentive artist with a stunning and flexible sound. As the guilt-ridden, errant young priestess Adalgisa, Barton carved her short opening arioso and prayer with detail and genuine presence."
Judith Malafronte, New York Classical Review, October 25, 2013
"As for Barton, she is a fresh wonder of the opera world, possessing a voice of preternatural beauty and power. She has a remarkable ability to keep the vocal line afloat amid pauses for breath; she'd swell on a note, take a breath, and then resume at even greater volume, tricking the ear into thinking that the phrase had never been broken."
Alex Ross, The Rest Is Noise, October 25, 2013
"The superb mezzo-soprano Jamie Barton, quickly becoming known for the flood of sound she can unleash, began her recital on Sunday afternoon singing against type. 'Music for a While,' written by Purcell and arranged by Britten, starts in stillness, and Ms. Barton quieted her tone into a float. The effects she achieved were subtle ones. 'Your pains were eas'd,' the song's text goes, and Ms. Barton gradually smoothed the repetitions of that final word so that 'eas'd,' well, eased. The flood eventually came – Sibelius's 'Black Roses' was on the program, among other powerhouses – but Ms. Barton's tranquil moments were among the most memorable on Sunday. […] Not that her delicacy was any real surprise. The recital came on the heels of her two performances as Adalgisa in Bellini's 'Norma' at the Metropolitan Opera, in which Ms. Barton's hushed prayers were as impressive as her full-cry high notes. Her tone both at the Met and at Pace, where she was inaugurating the Voce at Pace recital series, was remarkably consistent - as warm and full yet flexible and breathable as cashmere – from the piercing top to the simmering bottom of her range."
Zachary Woolfe, The New York Times, November 4, 2013