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].

Recently, Sharleen reprised the role of the Controller in 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 returns to Seattle Opera in 2022 as Amore in Gluck’s Orfeo and will make her Florida Grand Opera and Opera Colorado debuts as Gilda in Rigoletto.

2020 was meant to include a reprisal of her signature role of Zerbinetta in Ariadne auf Naxos with Calgary Opera. Previously, she made a role and company debut as Gilda in Rigoletto with Edmonton Opera, performed in New Year’s Galas with the Hong Kong Philharmonic, and sang the Controller in Jonathan Dove’s Flight with Pacific Opera Victoria.

In previous seasons, Sharleen made her Opera Philadelphia debut as Winnie in _Sky on Swings _(Beecher), a new opera about Alzheimers starring Frederica von Stade. She made her Vancouver Opera debut as Musetta in La Bohème. On the concert stage, she also debuted with the Guelph Symphony, singing Glière’s Concerto for Coloratura, Op. 82, as well as the Charleston Symphony, singing the Soprano Solo in Handel’s Messiah.

Other highlights include debuting with the Ravinia Music Festival, the Tanglewood Music Festival, the Orlando Philharmonic, and Anchorage Opera as Cunegonde in Candide, debuting with the Bach Society of St. Louis as the soprano solo in Howard Goodall’s requiem, Eternal Light, debuting _Symphony No. 4 _with the Thunder Bay Symphony, and performing both Queen of the Night in _The Magic Flute _and Musetta in La Bohème with Pacific Opera Victoria.

Previously, Sharleen starred as 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 had her Chinese debut as Zerbinetta in Oper Leipzig’s production—and the Chinese premiere—of Ariadne auf Naxos.

Early career highlights included joining the Metropolitan Opera roster to cover both Fiakermilli and Zerbinetta in R. Strauss’ _Arabella _and Ariadne auf Naxos, respectively. Sharleen appeared with the Badisches Staatstheater Karlsruhe (Marie, La Fille du Régiment; Adele, Die Fledermaus), Theater und Orchester Heidelberg (Oscar, Un Ballo in Maschera; Blonde, Die Entführung aus dem Serail; Soprano 1/Ariadne in Wolfgang Rihm’s Dionysos), Anhaltisches Theater Dessau (Adele, Die Fledermaus; Oscar, Un Ballo in Maschera; Despina, Cosi Fan Tutte), and made her Swiss debut with the Theater St. Gallen (Zerbinetta, Ariadne auf Naxos).

Sharleen has been nominated for both the prestigious “Der Faust” prize, awarded by the German Stage Association (for Wolfgang Rihm’s Dionysos) as well as Nachwunschsängerin (Young Singer of the Year) by Opernwelt magazine (for Zerbinetta in Ariadne auf Naxos). 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 has been a prizewinner in the Liederkranz Foundation, George London Foundation, Young Concert Artists, Licia-Albanese Foundation, Canadian Music Competition’s International Stepping Stone, and Palm Beach Opera Vocal Competitions.