Sharleen Joynt

Sharleen Joynt

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).   Most recently, Sharleen reprised the role of the Controller Jonathan Dove’s Flight for Seattle Opera, which was filmed and released for streaming in April of 2021, critics exclaiming, “We know we’re in for an acting treat when we see Sharleen Joynt’s overpoweringly supercilious, impeccably turned out Controller, prowling her control tower and pulling the strings; we see her arched eyebrows and penetrating stare in close-up as she delivers stratospheric coloratura.” (Bachtrack).  She will return to Seattle Opera in 2022 as Amore in Gluck’s Orfeo and make her Florida Grand Opera début as Gilda in Rigoletto.

Calendar

Event Date
Jan 12
to
Jan 30
Orfeo
Amore
Seattle Opera
Seattle, Washington
Event Date
Mar 12
to
Apr 2
Rigoletto
Gilda
Florida Grand Opera
Doral, Florida

Artist Bio

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).   Most recently, Sharleen reprised the role of the Controller Jonathan Dove’s Flight for Seattle Opera, which was filmed and released for streaming in April of 2021, critics exclaiming, “We know we’re in for an acting treat when we see Sharleen Joynt’s overpoweringly supercilious, impeccably turned out Controller, prowling her control tower and pulling the strings; we see her arched eyebrows and penetrating stare in close-up as she delivers stratospheric coloratura.” (Bachtrack). She will return to Seattle Opera in 2022 as Amore in Gluck’s Orfeo and make her Florida Grand Opera début as Gilda in Rigoletto.

2020 engagements were to include a reprisal of her signature role of Zerbinetta in Ariadne auf Naxos with Calgary Opera. In the previous season, she made a role and company début as Gilda in Rigoletto with Edmonton Opera, performed in a New Year’s Gala with the Hong Kong Philharmonic, and sang the Controller in Jonathan Dove’s Flight with Pacific Opera Victoria.

Prior engagements include performing the role of Winnie in Lembit Beecher’s Sky on Swings a new opera about Alzheimers starring Frederica von Stade with Opera Philadelphia, Musetta in La Bohème with Vancouver Opera, sang Glière’s Concerto for Coloratura, Op. 82 with the Guelph Symphony, performed as the soprano soloist in Handel’s Messiah with the Charleston Symphony, performed as Cunegonde in Candide with the Ravinia Music Festival, returned to Pacific Opera Victoria as Musetta in La Bohème, and as Cunegonde in Candide with Anchorage Opera, the Tanglewood Music Festival, and The Orlando Philharmonic. She was heard with the Bach Society of St. Louis as the soprano solo in Howard Goodall’s requiem, Eternal Light, and performed Queen of the Night in The Magic Flute with Pacific Opera Victoria and Theater Ausburg’s Summer Concert Series. She sang Mahler’s Symphony No. 4 with the Thunder Bay Symphony and joined the Victoria Symphony for their New Year’s operetta gala.

Additional performances included Christine in the Canadian Stage 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 with Opera Piccolo San Antonio. Sharleen joined the roster of The Metropolitan Opera in the 2010-11 season for their production of Ariadne auf Naxos, and later returned for their production of R. Strauss’ Arabella. She also performed Zerlina in Against the Grain Theatre’s modern adaptation of Don Giovanni, both in Toronto and with the Ottawa International Chamber Music Festival.

Sharleen made her European début when she joined the Anhaltisches Theater Dessau ensemble to sing Oscar in Un Ballo in Maschera, followed by Adele in Die Fledermaus, and Despina in Cosi Fan Tutte. She performed her signature role of Zerbinetta in Oper Leipzig’s production—and the Chinese premiere—of Ariadne auf Naxos which she also performed with the International Vocal Arts Institute in Tel Aviv, Theater St. Gallen, and Theater und Orchester Heidelberg ensemble for which she was nominated for Nachwunschsängerin (Singer of the Year) by Opernwelt magazine. She also sang Frasquita in Carmen with the Theater und Orchester Heidelberg ensemble, Fausta in the German premiere of Scarlatti’s Marco Attilio Regolo with the Winter in Schwetzingen Baroque Festival, and Blonde in Die Entführung aus dem Serail in Augsburg, Germany’s their Summer concert series and with Theater und Orchester Heidelberg, where she also sang Soprano 1/Ariadne in Wolfgang Rihm’s Dionysos for which she was nominated for the prestigious “Der Faust” prize, awarded by the German Stage Association. Sharleen has also appeared with the Badisches Staatstheater Karlsruhe as Marie in La Fille du Régiment and Adele in Die Fledermaus. 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.

Sharleen performed as an Emerging Artist with Calgary Opera. The same year she graduated from Mannes College of Music in New York with her Masters degree in Vocal Performance, she made her Carnegie Hall debut singing the soprano solo in Schubert’s Mass in G. She has been a prizewinner in the Liederkranz Foundation Competition, the George London Foundation Competition, the Young Concert Artists International Auditions, the Licia-Albanese Foundation Competition, the Canadian Music Competition’s International Stepping Stone, and the Palm Beach Opera Vocal Competition.

Updated 4.27.21

Press

“…fearlessly glamorous Musetta…” – Opera Canada

La boheme – "In classy flapper attire, with swirling white feather boa, soprano Sharleen Joynt captured the attention of the Café Momus clientele as a fearlessly glamorous Musetta in Act II. She tossed off “Musetta’s Waltz” with carefree abandon and it would take a singer of considerable ability and charisma to match her in sheer vocal and stage presence."

“…bull’s-eyeing inhumanly high notes…” – Times Colonist

The Magic Flute – "Joynt is an unforgettable Queen of Night, bull’s-eyeing inhumanly high notes like a sharp-shooter."

“…pure, glinting soprano…” – Opera Today

Winnie (Sky on Wings) – “As Martha’s resigned, if impatiently tolerant daughter, Sharleen Joynt’s pure, glinting soprano ably tossed off the angular writing assigned to her.”

“…shimmers with an angelic quality…” – Schmopera

Rigoletto – "Joynt shimmers with an angelic quality that is simply heavenly. Navigating Verdi’s writing with ease, Joynt simply captivated the audience, portraying Gilda with purity and innocence. Her performance of the aria “Caro nome” was particularly exquisite; her expressiveness made Gilda a shining light amid the darker themes of lust, betrayal, and vengeance."

“…exudes vocal brilliance…” – Die Deutsche Bühne

Ariadne auf Naxos – “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 is distinguished by a scintillating stage presence.”