Sharleen Joynt

Soprano

Sharleen Joynt

Soprano

Canadian/American Citizenship

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 returned to Pacific Opera Victoria, appearing as Musetta in La bohème and made her debut with Anchorage Opera as Cunegonde in Candide. On the concert stage she performed the rarely heard Goodall Requiem for The Bach Society of St. Louis, and reprised her signature role of Cunegonde in Candide at the Tanglewood Music Festival. In the 2018/19 season, Sharleen makes her Opera Philadelphia debut as Winnie in Sky on Swings, a new opera about Alzheimers by Lembit Beecher. She continues her season, making her company debut with Vancouver Opera as Musetta in La bohème and will also appear in a New Year’s Gala for the Guelph Symphony.

Recently, the Ottawa native 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 Strindberg’s play, “Miss Julie”, and as Galatea in Acis & Galatea, marking her Opera Piccolo San Antonio debut.

A globetrotter, 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 and also appeared as Zerlina with Against the Grain Theatre in #UncleJohn, a modern adaptation of Don Giovanni, both in Toronto and at Ottawa’s Chamberfest. Further credits include the Metropolitan Opera as cover for Fiakermilli in R. Strauss’ Arabella and Zerbinetta in Ariadne auf Naxos, Badisches Staatstheater Karlsruhe (Marie, La Fille du Regiment, Adele, Die Fledermaus), and Theater St. Gallen (Zerbinetta, Ariadne auf Naxos). She was nominated for the prestigious “Der Faust” prize, awarded by the German Stage Association, for her performance in Wolfgang Rihm’s Dionysos.

Performances in Heidelberg of such roles as Blonde in Die Entführung aus dem Serail, Frasquita in Carmen and Zerbinetta in Ariadne auf Naxos, and her uncommonly honest embodiment of characters and fearless onstage presence led to a 3-page article in Deutsche Bühne magazine. Nominated for Nachwunschsängerin (Young Singer of the Year) by Opernwelt, she appeared for the Schwetzingen Baroque Festival in Scarlatti’s Marco Attilio Regolo, and Anhaltisches Theater Dessau in Un ballo in maschera, Die Fledermaus and Così fan tutte.

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 in 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 U.S. resident, readers of Flare Magazine know her as a frequent guest columnist and she is a respected pop culture and fashion blogger.

September 2018

OPERA

Adamo Amy Little Women
 Ash  Violet Beauregarde  The Golden Ticket
 Berlioz  Héro  Béatrice et Bénédict
 Bizet  Frasquita  Carmen
 Donizetti  Marie  La flle du Régiment
 Massenet  La Fée  Cendrillon
 Mozart Despina
Blonde
Madame Herz
Cosi fan tutte
Die Entführung aus dem Serail
Der Schauspieldirektor
 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
Verdi Aminta
Fiakermilli
Oscar
Die schweigsame Frau
Arabella
Un Ballo in Maschera

“The vocal writing for Sharleen Joynt, who plays Simpson’s daughter, is perhaps the most challenging of the opera … she wrapped her voice around disjunct vocal lines confidently, and often with luster.”
­– Sky on Swings, Opera Philadelphia
David Patrick Stearns, The Philadelphia Inquirer

“Another standout is Sharleen Joynt as Musetta. POV regulars will remember the coloratura soprano as Queen of the Night in last year’s Magic Flute. Joynt’s projection is admirable.’ La Bohème, Pacific Opera Victoria
Adrian Chamberlain, Times Colonist

“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.”
– Die Zauberflöte, Pacific Opera Victoria
Adrian Chamberlain, Times Colonist

“flirtatious, and brings a lightness of touch as well as a beautiful voice to the role.” – La Fille du Regiment
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.” – La Fille du Regiment
Christoph Wurzel, Online Musik Magazin

“Koloraturwunder.” – Dionysos, Heidelberg
Joachim Lange, Die Welt

“Soprano Sharleen Joynt enchants not only with her glittering coloratura, but also her strongly erotic aura.” – Dionysos, Heidelberg
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.” – Dionysos, Heidelberg
Damian Kern, Der Neue Merker

“Sharleen Joynt sings, purrs, coos, and ravages her way through this extremely high role excellently.” – Dionysos, Heidelberg
Eckhard Britsch, Opernnetz

“Sharleen Joynt nailed Ariadne’s heavenly highs and hellish intervalic leaps with exemplary clarity and precise intonation.”
Dionysos, Heidelberg
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.” – Dionysos, Heidelberg
Jelena Rothermel, Operapoint

“And how could one better cast the role of Ariadne than with the phenomenal Sharleen Joynt, who fulfills all of Rihm’s extreme requirements effortlessly.” – Dionysos, Heidelberg
Jörn Florian Fuchs, Deutchlandradio

“Sharleen Joynt possesses both presence and breathtaking coloratura.” – Dionysos, Heidelberg
Joachim Lange, Online Musik Magazin

“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.” Ariadne auf Naxos, Hidelberg
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.” Ariadne auf Naxos, Hidelberg
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.” Ariadne auf Naxos, Hidelberg
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. ” Ariadne auf Naxos, Hidelberg
Joachim Lange, Online Musik Magazine

“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!” Ariadne auf Naxos, Hidelberg
Matthias Roth, Rhein-Neckar-Zeitung

“And Sharleen Joynt with her enchanting lyric coloratura soprano delivers a ravishing portrayal that sparks the audience’s enthusiasm.” Ariadne auf Naxos, Hidelberg
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.”
Ariadne auf Naxos, Hidelberg
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. “Ariadne auf Naxos, Hidelberg
Detlef Brandenburg, Die Deutsche Bühne

“Among the sopranos, Sharleen Joynt as Fausta deserves first mention, giving her role an attractive profle, which ranges from hysteria to ravishingly beautiful cantilena.” – Marco Attilio Regolo, Schwetzingen
Eckhard Britsch, Opernnetz (trans. From German)

“Sharleen Joynt’s soprano responded subtly and eloquently even into the extreme high range.” – Marco Attilio Regolo, Schwetzingen
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.” – Marco Attilio Regolo, Schwetzingen
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.” – Marco Attilio Regolo, Schwetzingen
Eckhard Britsch, Mannheimer Morgen

“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.” – “Glitter and be Gay”, Heidelberg Opera Gala, Heidelberg
Astrid Mader, Rhein-Neckar-Zeitung (trans.from German)

“Sharleen Joynt portrayed Zerbinetta exceptionally well. The first impression was that the voice had an artificial 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 filled with sexual tension. Joynt’s mastepiece was, of course, her long and difficult aria in the second part of the opera. It’s astounding how she came through all the difficult runs flawlessly, 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.” – Ariadne auf Naxos, Tel Aviv
TelAvivCity.com (Trans. from Hebrew)

“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).” – Ariadne auf Naxos, Tel Aviv
Haggai Hitron, Haaret (Trans. from Hebrew)

NEWS


LA BOHÈME
AT VANCOUVER OPERA
Soprano Sharleen Joynt sings the role of Musetta in Vancouver Opera’s latest production of Puccini’s masterpiece La bohème. Performances from February 14 to 24, 2019.



SKY ON SWINGS
 AT OPERA PHILADELPHIA
Sharleen Joynt sings the role of Winnie in a new opera Sky on Swings with Opera Philadelphia. Performances from September 20 to 29, 2018.



CANDIDE
AT TANGLEWOOD

Sharleen Joynt sings Cunegonde in Candide with the Knights at the Tanglewood Music Festival. Performances from August 18 to 23, 2018.

VIDEO

“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)