Sharleen Joynt
Canadian soprano Sharleen Joynt’s recent season highlights include Controller Flight Seattle Opera; her French debut as Cunegonde Candide at Opera de Lyon; Gilda Rigoletto at both Florida Grand Opera and Opera Colorado; Amore in Gluck’s Orfeo at Seattle Opera, and at Edmonton Opera Euridice Orphée. Upcoming engagements include her return to Seattle Opera for Morgana Alcina, as well as her debut at Detroit Opera as Bess in Missy Mazzoli’s critically acclaimed Breaking The Waves.
Past successes include Gilda Rigoletto at Edmonton Opera, Controller Flight at Pacific Opera Victoria; she appeared as Winnie in Lembit Beecher’s Sky on Swings, a new opera about Alzheimer’s disease with Frederica von Stade with Opera Philadelphia, Musetta La Bohème at Vancouver Opera and Pacific Opera Victoria, and Cunegonde Candide at with Tanglewood Music Festival, Ravinia Music Festival, Anchorage Opera, Orlando Philharmonic and Opera de Lyon.
At Anhaltisches Theater Dessau she sang Oscar Un Ballo in Maschera, Adele Die Fledermaus, and Despina Cosi Fan Tutte. With the Badisches Staatstheater Karlsruhe, she sang Marie La Fille du Régiment and Adele Die Fledermaus. She performed her signature role of Zerbinetta Ariadne auf Naxos with Theater St. Gallen, Theater und Orchester Heidelberg, and in the Leipzig production on tour in China. In Heidelberg, Sharleen also appeared as Frasquita Carmen, Blonde Die Entführung aus dem Serail, Fausta in the German premiere of Scarlatti’s Marco Attilio Regolo in the Winter in Schwetzingen Baroque Festival, and Soprano 1/Ariadne in Wolfgang Rihm’s Dionysos.
“Sharleen Joynt en Cunégonde est une formidable découverte, qui paraît disposer de deux voix : dans le grave, la couleur et l’intonation sont typiques du musical américain, alors que son registre aigu est celui d’une pure soprano colorature, d’une extrême agilité et aux suraigus faciles. Son air redoutable « Glitter and be gay » relève d’un vrai feu d’artifice vocal, déclenchant, presqu’à la fin du premier acte donc, les applaudissements du public.” Irma Foletti, Bachtrack, 23 December 2022
“The show-stopper was Cunegonde’s disquisition on feminine beauty, “Glitter and Be Gay,” in which Sharleen Joynt culminated coloratura virtuosity and athletic physicality with a sustained series of powerhouse high E-flats, ending with a whoop that ascended to the otherwise-unsingable tonic of the key, a high A-flat.” —The Berkshire Edge
“Sharleen Joynt, a petite beauty with a glorious coloratura soprano voice, delivered a knockout performance of the killer aria “Glitter and Be Gay,” and danced her way through the show in a remarkably effortless way.” —WTTV
“Sharleen Joynt was the essence of goodness as the hunchback’s sequestered daughter. Joynt’s sweetness of timbre was matched by spot-on intonation and effortless coloratura that veered excitingly into the vocal stratosphere. Her “Caro nome” was giddy with Gilda’s first flush of love palpably felt rather than a mere display piece. Joynt and Thomas’s voices blended felicitously in duet. After Gilda has sacrificed herself to save the life of the faithless Duke, Joynt sang her farewell at half voice, her death radiating pathos.” —South Florida Classical Review
Contact
Deborah Sanders
Founder and Director
deborah@arbourartists.com