Corinne Winters Makes Much-Anticipated ROH Debut

September 22, 2016

“A great actor, Winters had a regal calmness about her, which suited the gorgeous, rich warmth in her sound. Her ‘Per pietà’ was phenomenal, paced beautifully; she always found room for her best sound, and still she had lovely agility saved for the end. Winters negotiated extraordinarily long lines in a slower-than-necessary quintet. [Her] singing is top-notch, full of style and individuality…”

— Schmopera

Photo by Stephen Cummiskey

Corinne Winters makes her much-anticipated Royal Opera House Covent Garden debut in her adopted hometown as Fiordiligi in a new Jan Philipp Gloger production of Mozart's Così fan tutte.

Conducted by Semyon Bychkov, the production also stars Angela Brower, Alessio Arduini, and Daniel Behle. The production will be simulcast in cinemas around the world on October 17, with future showings throughout the season.

Read more reviews: 

“Winters has a very pretty soprano voice, with warmth, real character and not a hint of wobble: her Act I aria “Come scoglio” (Like a rock) applied rather more correctly to Winters’ singing technique than to Fiordiligi’s constancy.”
Bachtrack

“This success is no doubt also down to a shining cast: Corinne Winters’s rich-toned Fiordiligi…”
The Stage

"Corinne Winters is superb in Fiordiligi’s famous aria “Per pieta” as she falls in love with the man who in real life is her sister’s fiance."
Daily Express

“Corinne Winters’s superbly conflicted Fiordiligi and Angela Brower’s more easy-going Dorabella — are well aware that they are falling for each other’s men.”
The Times

“Così is nothing if not an ensemble piece, and this cast is unusually well-matched vocally. Even so, there are standouts in the shape of Daniel Behle’s volatile Ferrando, and in the sheer spirit with which Corinne Winters’s by that point almost suicidally troubled Fiordiligi attacks every note of Per Pietà.”
The Guardian

“Winters is a splendid tormented Fiordiligi and sings her two highpoint arias with panache.”
Plays to See

“Winters’ Fiordiligi is indeed as ‘steady as a rock’ vocally: she has a bright, ringing top and she agilely leapt through ‘Come scoglio’.”
Opera Today

“American Corinne Winters was an indecisive Fiordiligi with a warm and beautiful soprano. She was particularly good in the arias ‘Come scoglio’ and ‘Per pietà’, delivered with touching sensitivity and sadness. Fantastic.”
Fanáticos da Opera

“Probably the best sung Così that I have ever seen. With American soprano Corinne Winters glorious as Fiordiligi…it produces a wonderful evening.”
Daily Express

“When Fiordiligi (Corinne Winters) pours out her torment in “Per pietà” and then succumbs to the rapture of forbidden love in the duet “Fra gli amplessi”, it’s clear Mozart isn’t being ironic but the staging doesn’t quite support this emotional truth. With her impressively weighty voice, Winters isn’t perhaps an ideal Fiordiligi, but she has a thrilling stage presence and offers an intriguing and detailed performance.”
Blouin Art Info

“As the two with the most stage time, Dorabella (Brower) and Fiordiligi (Winters) have the most daunting of vocal tasks. But carry it they do, with Winters’ mastery of melisma and technical delivery being particularly noteworthy. This is a young cast, but one that carries the mantle of Mozart’s great work without strain.”
Exeunt Magazine

“Three performances stand out in particular, and the first is that of Corinne Winters as Fiordiligi. This may be her Royal Opera debut, but she seems totally at ease as she ensures that ‘Per pietà, ben mio, perdona’ becomes a definite highlight of the evening. Her voice is extremely rounded so that the high notes almost do not seem to be because they feel so rich and full.”
musicOMH

“Both Corinne Winters and Angela Brower give delightful accounts of the young women. Winters in particular sings a Fiordiligi of rare range and beauty, with surprisingly strong mezzo notes as well as a radiant upper range.”
What’s On Stage

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