A native of Bolivar, New York, soprano JOÉLLE HARVEY is quickly becoming recognized as one of the most promising young talents of her generation. She is the recipient of a 2011 First Prize Award from the Gerda Lissner Foundation, a 2009 Sara Tucker Study Grant from the Richard Tucker Foundation, and a 2010 Encouragement Award (in honor of Norma Newton) from the George London Foundation.
This season, Harvey’s numerous engagements include repeat appearances as Sicle in Ormindo with the Royal Opera, Covent Garden, Galatea in Acis and Galatea with the Killkenny Festival, and role debuts as Marzelline in Fidelio with San Francisco Symphony and as Anne Trulove in Stravinsky’s The Rake’s Progress with Utah Opera. On the concert stage, she appears with the Cleveland Orchestra (Bach B-minor Mass), Tafelmusik, the Handel & Haydn Society (Messiah and St. Matthew Passion), the Los Angeles Philharmonic and the San Francisco Symphony (Missa solemnis), the North Carolina Symphony (Messiah), The Hague Philharmonic (Bach Magnificat and Cantata No. 57), the Dallas Symphony (Mozart Requiem), and the Pygmalion Ensemble (Mozart Mass in C minor).
Harvey’s 2013/2014 season included her debut with the Royal Opera, Covent Garden in London as Sicle in Ormindo, in addition to performances with the Glyndebourne Festival Opera as Serpetta in La finta giardiniera and as Adina in L’elisir d’amore with the Glyndebourne Festival Touring Company, and with the Dallas Opera for Miranda in Death and the Powers, as well as appearances on the concert stage with the Handel & Haydn Society (Dalila in Handel’s Samson), the New York Philharmonic (Handel’s Messiah), the San Francisco Symphony (Beethoven’s Mass in C), the Milwaukee Symphony (Schubert’s Mass No. 6), and the Kansas City Symphony (Handel’s Messiah).
During the 2012/2013 season, the soprano was engaged to sing Susanna in Le nozze di Figaro on tour with the Glyndebourne Festival and also with Arizona Opera; made two appearances with the San Francisco Symphony: Handel’s Messiah, conducted by Ragnar Bohlin, and music from Peer Gynt, conducted by Music Director Michael Tilson Thomas; sang the role of Tigrane in performances of Radamisto at Carnegie Hall and in Ann Arbor, Michigan, with Harry Bicket and The English Concert; performed the Mendelssohn and Bach Magnificats for her debut with the New York Philharmonic; and was heard as Iphis in a United States tour of Handel’s Jephtha with Harry Christophers and Handel & Haydn Society. She concluded the season in a return to Festival d’Aix-en-Provence for Zerlina in a revival of Dmitri Tcherniakov’s production of Don Giovanni, conducted by Marc Minkowski.
In 2009, Joélle Harvey made her debut at New York City Opera as Zerlina in Christopher Alden’s new production of Don Giovanni. During the 2008/2009 season, she made company debuts with Dallas Opera, Portland Opera, and Eugene Opera. On the concert and recital platforms that season, Harvey made debuts with the San Francisco Symphony and with Steven Blier and the New York Festival of Song at Merkin Concert Hall and the Caramoor Festival.
In the summer of 2008, she performed the role of Zerlina in Catherine Malfitano’s critically acclaimed production of Mozart’s Don Giovanni with San Francisco Opera’s Merola Program. As a member of Glimmerglass Opera’s 2007 Young American Artists Program, Harvey performed the role of Cupid in Offenbach’s Orpheus in the Underworld to great critical acclaim and covered soprano Lisa Saffer in the role of La Princesse in Philip Glass’ Orphée.
Joélle Harvey received Second Prize in Houston Grand Opera’s 2008 Eleanor McCollum Competition for Young Singers. She is a recipient of the Shoshana Foundation’s 2007 Richard F. Gold Career Grant, and was also presented with the John Alexander Memorial Award and the coveted Sam Adams Award for Achievement in Acting from the University of Cincinnati College-Conservatory of Music (CCM).
Harvey received her bachelor’s and master’s degrees in vocal performance from CCM, where she performed the roles of Amor in Cavalli’s L’Egisto, Emmie and Flora in, respectively, Britten’s Albert Herring and The Turn of the Screw, Poppea in L’incoronazione di Poppea, Sophie in Massenet’s Werther, and Nannetta in Falstaff.