...Ottavia- Claire Barnett-Jones, both imperious and vulnerable, her tone tangy and seamless...
I was impressed by Claire Barnett-Jones’s Ottavia: ‘Disprezzata Regina’, in which Nerone’s neglected and rejected spouse swears vengeance, was a convincing, burning portrait of an aggrieved wife and wronged womanhood. The mezzo soprano showed control and flexibility in the short phrases which convey Ottavia’s changing moods and ‘A Dio Roma’ was full of pathos.
Ottavia, sung by mezzo Claire Barnett-Jones, was the epitome of the abandoned woman, shocked and vengeful. Barnett-Jones gave powerful voice to the character
Claire Barnett-Jones likewise as the Headman’s put-upon, live-in ‘sister-in-law’ – excellent vocal control both, without letting the comic antics compromise the gusto of their singing
The Act Two scene with Murphy’s Headman, Martins Smaukstelis’s Distiller, Claire Barnett-Jones’s sister-in-law and Henry Neill’s clerk was a complete comic delight. One long sustained sequence where the four singers each created a strong sense of comedy, both aural and visual from Smaukstelis’s supercilious man of the world (complete with pipe), through Barnett-Jones’s completely over the top femme-fatale act to Neill’s precise pomposity.
Claire Barnett-Jones a touching Marcellina
Claire Barnett-Jones carried off the burden of age with great success as Marcellina,
Claire Barnett-Jones’ Marcellina ably played older without it looking arch
Claire Barnett-Jones as Marcellina and Timothy Murphy...as Bartolo brought genuine warmth to their roles without short-changing the comedy.
At the drama’s heart, Claire Barnett-Jones was a moving, stoical Maurya, her mezzo-contralto rising easily to the challenge of the great, extended scena...no trace of overplaying marred Barnett-Jones’ compulsively watchable, tragic heroine.
The Vaughan Williams is sung with searing concentration and wonderfully contained restraint, especially by Claire Barnett-Jones as the tragic Maurya
Claire Barnett-Jones was terrific as Maurya. With her first entry, the contrast between her focused yet soulful contralto and the soprano voices of her daughters, Cathleen and Nora, was telling...Barnett-Jones’ declamation was grave and transfixing, taking us compellingly through the inexorable journey, and submission, to death; she sustained the vocal and dramatic intensity through her long monologues, and her words upon the death of Bartleby —‘May the Almighty God have mercy on Bartley’s soul … and on the soul of everyone left living in the world’ — were shocking in their candid acceptance of fate and passive forbearing. Barnett-Jones is clearly a young singer to watch
Claire Barnett-Jones’s excellent Maurya – a woman much acquainted with grief. She geared her powerful singing and acting towards a devastating account of the climactic lament of a mother who has nothing left to lose, as tragic in its way as Dido’s
Strikingly mature, both vocally and dramatically, Claire Barnett-Jones’s Maurya is the centre to this maelstrom of musical grief. There’s a stillness to her performance that chafes effectively
Claire Barnett-Jones graciously swept all before her as the Grand Duchess of Monteblanco