Jamie Barton stuns in Mahler and Schoenberg
20/9/2024
Jamie Barton takes Europe by storm yet again with a busy month of concert appearances in London, Copenhagen, Hamburg and Luzerne.
In Mahler’s Rückert-Lieder at the BBC Proms under Dalia Stasevska:
“Jamie Barton, the force-of-nature American mezzo-soprano, was the soloist: her coppery voice, too, is a giant instrument, but she wielded it with minute attention to diction and meaning. The rapt valediction in the final song, ‘Ich bin der Welt abhanden gekommen’ (I am lost to the world) was breathtaking.” — INews, Jessica Duchen, August 2024
“Barton was the creamy-toned soloist in Mahler’s Rückert Lieder, steering a nice path between cool detachment and emotional indulgence.”
– The Guardian, August 2024
“Mezzo-soprano Jamie Barton began with the three lighter songs, of which her second Liebst du um Schönheit (If you love for beauty) was particularly fine, especially its beguiling final couplet “Liebe mich immer, Dich lieb’ich immerdar!” (Love me always, I’ll love you evermore). Um Mitternacht (At midnight) was a profound utterance, strings silent while brass and winds led us to a resounding climax, Barton capping the splendour with imposing weight of tone. Ich bin der Welt abhanden gekommen (I am lost to the world) has a claim to be Mahler’s finest song, and Barton sang it with exquisite poise at a taxingly slow tempo”. — Bachtrack, August 2024
In Mahler’s Das Lied von der Erde with Danish National Symphony Orchestra under Fabio Luisi:
“There are many recordings of ‘Das Lied’ and many singers are famous in that regard, from Kathleen Ferrier to Christa Ludwig. Jamie Barton slipped right into the ranks of the best singers of all time. Impressive.” – Politiken, August 2024
“Barton was Mahler’s star… Her mezzo-soprano glowed with autumn colors and cavernous sound, in which she took possession of her songs with enormous authority. Barton was in full bloom. Her interpretation was based on a deep understanding of the text, each phrase following the balance of the music, and a poignant ending.” – Dagbladet Information, August 2024
“Barton’s mezzo is crystal clear and pure… The famous closing song Abschied, which dissolves into nothingness, was both deeply fascinating and intensely performed. The singer leads us in a half-hour-long song deep into Mahler’s clarified vision of death, where he finally lets the music dissolve into the silence and rest of eternity. The silence hung in the hall long after the farewell stanzas of the final song had sounded out.” – POV International, August 2024
“Barton led with nerve. Every time she went into her deep register, it sounded like a lie that was being exposed – a sleep that ended abruptly. It was eminently suitable music for her. It sounded like a memory of a world that was irretrievably lost, and when all looked darkest, Barton stood up in the ashes with a wistful glassy sound. Suddenly, the birds and the warmth returned to the orchestra, all like a sweet dream. Barton looked out at the horizon and repeated into the brutal clam: ‘ewig…ewig’ – life passes. But the Earth remains, and so do the classic masterpieces, if they are done with this kind of nerve and risk.” – Kristeligt Dagblad, August 2024
As Waldtaube in Schoenberg’s Gurre-Lieder with the NDR Elbphilhamonie Orchestra under Alan Gilbert:
“Among the soloists, the two women stand out. The mezzo-soprano Jamie Barton as the ominous wood pigeon is a stunner. Not only because she is the one who understands the most about the text”. — Ndr.de, September 2024
“With the greatest intelligibility of words, her dramatic interpretation became one of the highlights of the evening. She led her rich, full voice from the middle register up without interruption and belted out the trebles into the hall. — Klassik Begeistert, September 2024
