When Barton made her Cincinnati recital debut in 2018 with pianist Kathleen Kelly, her program illuminated the voices of women composers. Barton and Kelly will continue that thread in her return, including Six Lieder by Clara Schumann, “Love after 1950” by Libby Larsen, French art song, opera favorites and contemporary works. This could be my favorite: “In the Beginning” from “Cat Songs” by Jake Heggie.

A lot has happened for Barton since that 2018 visit. She’s now a Grammy winner, with the 2026 Grammy for Best Opera Recording for Intelligence, and her career has taken her to the Met, Carnegie Hall, the BBC Proms and major stages around the world.

Indeed, Barton is now a superstar. Here’s what I wrote for the Cincinnati Enquirer when she made her role debut as Azucena in Verdi’s “Il Trovatore” for Cincinnati Opera. It gives you some idea of the extraordinary power of her voice:

“At the opera’s center is the Gypsy, Azucena, who has seen her own mother burned at the stake. Thursday was Barton’s first outing in this role, and it seems ideal for her out-sized, rich mezzo-soprano, with its arresting color in the lower range. She cast a spell as she wove her tale in “Stride la vampa,” describing her mother’s demise at the stake. Her Third Act scene with the Count was chilling, as she communicated heart-rending emotion as well as palpable terror for the fate she was facing.”

Off the stage, she’s outspoken about body positivity, women’s issues and LGBTQ+ rights. Her own Instagram bio pretty much says it all: “Proudly queer opera singer into drag queens, bluegrass, social justice, equality, and cats.”  Take a look at my last interview with her, on this blog!