Coloratura soprano Sharleen Joynt has been praised for her “silvery, sparkling, substantial and resonant soprano” [Die Deutsche Bühne], her “scintillating high range, reminiscent of the most beautiful moments of Mady Mesplé” [Opernwelt], and “an artistic command that leaves the listener breathless” [Deutschland Radio].
In the 2017/18 season, Sharleen returns to Pacific Opera Victoria, appearing as Musetta in La bohème and also will be featured in a new opera by Beecher with Opera Philadelphia. She will be heard in Anchorage, Alaska as Cunegonde in Candide, and on the concert stage, sings the rarely heard Goodall Requiem for The Bach Society of St. Louis.
This past season, Sharleen joined the Orlando Philharmonic as Cunegonde for a concert staging of Candide, reprised Queen of the Night in The Magic Flute with Pacific Opera Victoria, performed Mahler’s Symphony No. 4 for the Thunder Bay Symphony, and was heard in a New Year’s gala devoted to operetta with the Victoria Symphony. She appeared in the role of Zamira in Sherlock Holmes and the Case of the Fallen Giant presented by the American Lyric Theater at Merkin Concert Hall, and was featured in Mendelssohn’s A Midsummer Night’s Dream with the Mostly Mozart Festival in San Diego. During the 2015/16 season, Sharleen starred as Christine in the CanStage and Soundstreams co-production and North American Premiere of Belgian composer Philippe Boesman’s Julie, based on the 1888 Strindberg play, “Miss Julie”, and as Galatea in Acis & Galatea, marking her Opera Piccolo San Antonio debut.
Throughout the 2014/15 season, Sharleen made her Chinese debut as Zerbinetta in Oper Leipzig’s production – and the Chinese premiere – of Ariadne auf Naxos. She sang Blonde in Die Entführung aus dem Serail in Augsburg, Germany in their summer concert series and also performed her first Zerlina with Against the Grain Theatre in #UncleJohn, a modern adaptation of Don Giovanni, both in Toronto and at Ottawa’s Chamberfest. Sharleen’s 2013/14 season included rejoining the Metropolitan Opera roster to cover Fiakermilli in R. Strauss’ Arabella. She appeared with Badisches Staatstheater Karlsruhe (Marie, La Fille du Regiment, Adele, Die Fledermaus), Theater und Orchester Heidelberg (Oscar, Un ballo in maschera), and made her Swiss debut with Theater St. Gallen (Zerbinetta, Ariadne auf Naxos). She was also nominated for the prestigious “Der Faust” prize, awarded by the German Stage Association, for her performance in Wolfgang Rihm’s Dionysos.
For the 2012/13 season, Sharleen spent her second year as an ensemble member of Theater und Orchester Heidelberg, performing Blonde in Die Entführung aus dem Serail and receiving critical acclaim for her “stratospheric” Soprano 1/Ariadne in the Rihm opera. Her uncommonly honest embodiment of characters and fearless onstage presence in German Regietheater led to a 3-page article in the May 2013 issue of Deutsche Bühne magazine.
In 2011/12, she was in Heidelberg for Frasquita in Carmen and Zerbinetta in Ariadne auf Naxos, the role for which she was nominated for Nachwunschsängerin (Young Singer of the Year) by Opernwelt. She also debuted with the Schwetzingen Baroque Festival as Fausta in the German premiere of Scarlatti’s Marco Attilio Regolo.
The Metropolitan Opera engaged Ms. Joynt to cover Zerbinetta in Ariadne auf Naxos, and further engagements for 2010/11 included Oscar in Un ballo in maschera, Adele in Die Fledermaus and Despina in Cosi fan tutte for the Anhaltisches Theater Dessau ensemble. She also returned to the Vocal Arts Institute in Tel Aviv to perform her first Zerbinetta under the baton of Metropolitan Opera conductor, Paul Nadler.
Further credits include her Carnegie Hall debut in Schubert’s Mass in G and Zerbinetta for the Vocal Arts Institute in Tel Aviv. A former Calgary Opera Emerging Artist, Ms. Joynt graduated from Mannes College of Music, NY, with a Masters degree in Vocal Performance. She is a prizewinner of the Liederkranz Foundation Competition, the George London Foundation Competition, the Young Concert Artists International Competition, the Licia-Albanese Foundation Competition, the Canadian Music Competition’s International Stepping Stone and the Palm Beach Opera Vocal Competition.
A native of Ottawa, Ontario, Ms. Joynt is a U.S. resident. She is a respected pop culture and fashion blogger and frequent guest columnist with Flare Magazine.
|Ash||Violet Beauregarde||The Golden Ticket|
|Berlioz||Héro||Béatrice et Bénédict|
|Donizetti||Marie||La flle du Régiment|
|Cosi fan tutte
Die Entführung aus dem Serail
|Purcell||Belinda||Dido and Aeneas|
|Ravel||Fire, Princess, Rossignol||L’enfant et les sortilèges|
|Rihm||1. hoher Sopran/Ariadne||Dionysos|
|Scarlatti||Fausta||Marco Attilio Regolo|
|J. Strauss||Adele||Die Fledermaus|
|R. Strauss||Zerbinetta||Ariadne auf Naxos|
|Die schweigsame Frau
Un Ballo in Maschera
Queen of the Night, Die Zauberflöte (Pacific Opera Victoria | February 2017)
“Joynt is an unforgettable Queen of the Night, bull’s-eyeing inhumanly high notes like a sharp-shooter. This coloratura soprano has a lovely, pure voice; her phrasing was nicely controlled and her projection was admirable. For her final aria, Joynt appeared in a spectacular tent-like gown that made her three metres tall. Mirrored by two flanking set pieces, she was a remarkable sight.”
Adrian Chamberlain, Times Colonist
Marie, La Fille du Régiment (Karlsruhe | April-May 2013) – translated from German
“Karlsruhe struck gold with the casting of young Canadian soprano Sharleen Joynt as Marie – she’s charming, firtatious, and brings a lightness of touch as well as a beautiful voice to the role.”
Eckhard Britsch, Opernnetz
“The young Canadian soprano Sharleen Joynt, from Heidelberg’s ensemble, displayed strong stage presence, perfect technique, and sparkling coloratura in the role of Marie. The opera world is surely looking at a great talent.”
Christoph Wurzel, Online Musik Magazin
Ariadne/1st High Soprano, Dionysos (Heidelberg | February 2013) – translated from German
Joachim Lange, Die Welt
“Soprano Sharleen Joynt enchants not only with her glittering coloratura, but also her strongly erotic aura.”
Thomas Weiss, Darmstädter Echo
“With a rich, focused yet ethereal sound, soprano Sharleen Joynt brings both erotic seduction and wit to the role of Ariadne.”
Damian Kern, Der Neue Merker
“Sharleen Joynt sings, purrs, coos, and ravages her way through this extremely high role excellently.”
Eckhard Britsch, Opernnetz
“Sharleen Joynt nailed Araidne’s heavenly highs and hellish intervalic leaps with exemplary clarity and precise intonation.”
Alexander Dick, Badische Zeitung
“Particularly outstanding was Sharleen Joynt as the 1st High Soprano and Ariadne. She has mastered the exchange between the highest highs and lowest lows perfectly. Her voice remained consistently clear and fexible.”
Jelena Rothermel, Operapoint
“And how could one better cast the role of Ariadne than with the phenomenal Sharleen Joynt, who fulflls all of Rihm’s extreme requirements effortlessly.”
Jörn Florian Fuchs, Deutchlandradio
“Sharleen Joynt possesses both presence and breathtaking coloratura.”
Joachim Lange, Online Musik Magazin
Zerbinetta, Ariadne auf Naxos (Heidelberg | May-June 2012) – translated from German
“Young Canadian Sharleen Joynt as Zerbinetta is the highlight of the production. She combines technical command with spirited acting and a love for taking risks and will certainly soon enchant audiences way beyond Heidelberg with her attractive voice whose scintillating high range is reminiscent of the most beautiful moments of Mady Mesplé.”
Claus Ambrosius, Opernwelt
“The most remarkable feature about Heidelberg’s Ariadne is Sharleen Joynt’s big solo: the cheekiness of the leader of the commedia dell’arte group transported into the 20th century culminates in an aria about extreme experiences of exalted love, delivered with an artistic command that leaves the listener breathless. Soprano Sharleen Joynt’s Despina in Dessau carried great conviction – her Zerbinetta kindles enormous enthusiasm.”
Frieder Reininghaus, Deutschlandradio Kultur
“Zerbinetta was cast with a singer from the house, and Sharleen Joynt sang her role with a secure soprano that
carried well delivering a performance of breathtaking vocal accuracy.”
Uwe Marcus Rykov, European-News-Agency
“But this Zerbinetta is the absolute highlight! Not for a long time has the opera stage seen a Zerbinetta of such power, virtuosity and security as in Sharleen Joynt’s performance. The audience voiced its appreciation with a show-stopping XL-ovation. She is a discovery that will be noticed in many places and probably heard very soon at larger theaters.”
Joachim Lange, Online Musik Magazin
“Coloratura Sharleen Joynt delivers a breathtaking Zerbinetta, and has already covered the role at the Metropolitan Opera New York and sung it in Tel Aviv. What a voice! Effortless, smooth, capable of great dynamic differentiation, always perfectly controlled and yet completely natural – her intonation is crystal clear, as evidenced when she meets the orchestra with spot-on precision after her extended solo cadenza: a world class singer in Heidelberg’s ensemble!”
Matthias Roth, Rhein-Neckar-Zeitung
“And Sharleen Joynt with her enchanting lyric coloratura soprano delivers a ravishing portrayal that sparks the audience’s enthusiasm.”
Eckhard Britsch, Mannheimer Morgen
“The pretty Canadian coloratura Sharleen Joynt already wowed the audience with her coquette portrayal in the prologue. In the second part, her big aria, sung with admirable commitment, earned her an ovation that stopped the show for several minutes.”
Udo Pacolt, Der Neue Merker
“And these singers are quite a sensation. What other theatre this size could possibly cast Zerbinetta from its ensemble? Sharleen Joynt sings this daunting role with a silvery, sparkling, substantial and resonant soprano. She nails her top notes with dazzling accuracy and navigates the aria’s many diffculties with skill and artistry. Hers is clearly a well-crafted performance that exudes vocal brilliance and distinguished by a scintillating stage presence. “
Detlef Brandenburg, Die Deutsche Bühne
Fausta, Marco Attilio Regolo (Schwetzingen | December 2011-February 2012) – translated from German
“Among the sopranos, Sharleen Joynt as Fausta deserves frst mention, giving her role an attractive profle, which ranges from hysteria to ravishingly beautiful cantilena.”
Eckhard Britsch, Opernnetz
“Sharleen Joynt’s soprano responded subtly and eloquently even into the extreme high range.”
Hans-Klaus Jungheinrich, Frankfurter Rundschau
“Sharleen Joynt is the new coloratura in Heidelberg and introduced herself brilliantly with extremely intensive and virtuosically shaped singing and an attractive voice capable of profound expression.”
Rainer Koehl, Darmstadt Echo
“The soprano roles are sumptuously cast: Sharleen Joynt portrays Fausta as a highly differentiated character encompassing hysterical outbursts and beautifully shaped lyricism.”
Eckhard Britsch, Mannheimer Morgen
“Glitter and be Gay”, Heidelberg Opera Gala (Heidelberg | November 2011) – translated from German
“With an aria from Leonard Bernstein’s “Candide” the 27-years-young soprano Sharleen Joynt sang her way straight into the hearts of Heidelbergers. Full of spirit and with considerable charm, she gave a light and airy rendition of the aria “Glitter and be Gay” and made an impression with a vocal range that is second to none.”
Astrid Mader, Rhein-Neckar-Zeitung
Zerbinetta, Ariadne auf Naxos (Tel Aviv | July 2011) – translated from Hebrew
“Sharleen Joynt portrayed Zerbinetta exceptionally well. The frst impression was that the voice had an artifcial glow, but that theory was soon refuted when her voice was discovered to possess a special and unexpected amber timbre. More and more layers and depth were uncovered in her duet with the composer, a duet which was flled with sexual tension. Joynt’s mastepiece was, of course, her long and diffcult aria in the second part of the opera. It’s astounding how she came through all the diffcult runs fawlessly, while running across the stage, or while lying on her back simulating orgasm spasms. Sounds provocative? Maybe, but in reality it worked wonderfully, ingenious staging of the “how come nobody thought of this before” variety, and the audience reacted with thunderous applause that threatened to break down the walls.”
“Sharleen Joynt in the acrobatic aria of Zerbinetta was simply stunning (and was aided by the bold staging with sexual insinuations, but brilliantly and tastefully done).”
Haggai Hitron, Haaretz
Current as of August 2013
Sharleen Joynt is currently workshopping the role of Winnie in a new opera by Lembit Beecher for Opera Philadelphia.
In the Spring, Sharleen joins Anchorage Opera to reprise the role of Cunegonde in Candide.
“Großmächtige Prinzessin” Ariadne auf Naxos, R. Strauss
“Quoi? Vous m’aimez?” La Fille du Regiment, G. Donizetti
“Glitter and be Gay” Candide, L. Bernstein (in concert)
Get to know Sharleen as she takes you backstage at Theater und Orchester Heidelberg!