A native of Bolivar, New York, soprano Joélle Harvey has established herself over the past decade as a noted interpreter of a broad range of repertoire, specializing in Handel, Mozart, and new music. She was 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.

Original engagements for Ms. Harvey’s COVID-19 shortened 2019-2020 season feature important debuts, as she performs Pamina in Die Zauberflöte with both the Metropolitan Opera and Santa Fe Opera. She returns to the Cleveland Orchestra for Mahler’s 4th Symphony as well as Mozart’s Mass in C Minor, which she will also perform with the Handel & Haydn Society. Mahler’s 2nd Symphony features prominently this season, for which she returns to both the St. Louis Symphony and the New York Philharmonic, the latter with performances in New York and on tour conducted by Jaap van Zweden. She returns to the San Francisco Symphony for Brahms’s Ein deutsches Requiem led by Michael Tilson Thomas, and debuts with the Santa Barbara Symphony for Beethoven’s Mass in C. Her season also includes appearances with the Philadelphia Chamber Music Society for their Emerging Voices series, the Chamber Music Society of Lincoln Center for a concert in Alice Tully Hall featuring songs of Schubert, Chausson, and Harbison, and the Cincinnati Symphony for Handel’s Dilirio Amoroso. 

The works of Gustav Mahler figured substantially in Ms. Harvey’s 2018-2019 season engagements. She returned to the Cleveland Orchestra as the soprano soloist in his 2nd Symphony, conducted by Franz Welser-Möst and performed in Cleveland and on tour. She also performed the work for her debut with the Toronto Symphony, in performances led by Matthew Halls. With the San Diego Symphony, she was reunited with conductor Edo de Waart for Mahler’s 4thSymphony, on a program also featuring Barber’s Knoxville: Summer of 1915. She was also presented by Carnegie Hall in recital with pianist Allen Perriello, as part of the Great Singers: Evenings of Song series. With the British ensemble Arcangelo, Ms. Harvey toured several U.S. cities, in performances with Artistic Director Jonathan Cohen. In June, she made her mainstage debut with the Royal Opera House, Covent Garden as Susanna in Le nozze di Figaro. The season also included appearances with the New York Philharmonic (Mozart’s Requiem), Utah Symphony(Beethoven’s 9th Symphony), Saint Paul Chamber Orchestra (Bach St. John Passion), North Carolina Symphony (Mozart arias and Mass in C Minor), Music of the Baroque (Bach Coffee Cantata), and Handel & Hadyn Society (Mozart’s Requiem).

Ms. Harvey began the 2017-2018 season in concert with the Knoxville Symphony, performing Samuel Barber’s Knoxville: Summer of 1915. She subsequently made her Pittsburgh Opera debut as Susanna in Le nozze di Figaro, and joined The English Concert as Almirena in Rinaldo. Further concert appearances included a return to the New York Philharmonic for Handel’s Messiah, and an appearance with the Laguna Music Festival for a concert of music by Brahms and both Clara and Robert Schumann. In the summer of 2018, she returned to the Glyndebourne Festival Opera for her role debut as Cleopatra in Sir David McVicar’s iconic production of Handel’s Giulio Cesare, conducted by William Christie. She also appeared at the BBC Proms as the Mater Gloriosa in Mahler’s 8th Symphony.

In the previous season, Ms. Harvey joined the Milwaukee Symphony as Susanna in Le nozze di Figaro, the Los Angeles Philharmonic as Pat Nixon in Nixon in China, and returned to the Glyndebourne Festival Opera as Servilia in La clemenza di Tito, a role which she also performed at the BBC Proms. In concert, she appeared with the Mostly Mozart Festival for Mozart’s Mass in C Minor and his Requiem, which she also sang for the Kansas City Symphony and the Utah Symphony. Additionally, she joined the Cincinnati Symphony for Beethoven’s Missa Solemnis, sang Handel’s Messiah with the Handel & Haydn Society and the National Symphony, the San Francisco Symphony for Mahler’s Das klagende Lied, and the London Symphony Orchestra and Concertgebouw for John Adams’ El Niño. She also appeared in concert with the LA Chamber Orchestra and the North Carolina Symphony.

Ms. Harvey’s varied appearances during the 2015-2016 season included Michal in Saul with the Handel & Haydn Society and Inès in a concert performance of La favorite with Washington Concert Opera. She also joined the Indianapolis Symphony, Virginia Symphony, St. Paul Chamber Orchestra and Les Violons du Roy in concert.

During the 2014-2015 season, Ms. Harvey’s numerous engagements included 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 Anne Trulove in Stravinsky’s The Rake’s Progress with Utah Opera. On the concert stage, she appeared with the Cleveland Orchestra (Bach B minor Mass), Tafelmusik, Handel & Haydn Society (Messiah and St. Matthew Passion), LA Philharmonic (Missa Solemnis), North Carolina Symphony (Messiah), Dallas Symphony (Mozart Requiem) and the Pygmalion Ensemble (Mozart Mass in C minor).

Ms. Harvey’s 2013-2014 season included her debut with the Royal Opera, Covent Garden in London as Sicle in Ormindo, further performances with the Glyndebourne Festival Opera as Serpetta in La finta giardiniera, Adina in L’elisir d’amore with the Glyndebourne Festival Touring Company, and 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), New York Philharmonic  (Handel’s Messiah), San Francisco Symphony (Beethoven’s Mass in C),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; 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; the role of Tigrane in performances of Radamisto at Carnegie Hall and in Ann Arbor, Michigan, with Harry Bicket and The English Concert; the Mendelssohn and Bach Magnificats for her debut with The New York Philharmonic; and 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 the summer of 2011, Ms. Harvey made her role and company debut with Festival d’Aix-en-Provence as Galatea in Acis and Galatea under the direction of Leonardo García Alarcón. The 2011-2012 season found performances of Galatea at the Teatro La Fenice in Venice; Handel’sMessiah for her debut with the Kansas City Symphony, and in a return to the San Francisco Symphony; Michal in a performance of Handel’s Saul at London’s Barbican with Harry Christophers and The Sixteen, which she also recorded with the company; and a return to New York City Operafor the role of Eurydice in Telemann’s Orpheus. She concluded the season in a debut withGlyndebourne Festival Opera in a revival of Jonathan Kent’s acclaimed production of The Fairy Queen. She also performed Bach’s B Minor Mass with The English Concert at the BBC Promsand in Leipzig.

The soprano’s 2010-2011 season included a return engagement with the San Francisco Symphony as the soprano soloist in Carmina Burana, performances of Handel’s Messiah in Spain with Harry Bicket and The English Concert, Belinda in Dido and Aeneas at the Concertgebouw in Amsterdam, Sophie in Werther with Washington Concert Opera under the baton of Antony Walker, and creating the role of Miranda in the world premiere of Death and the Powers at the Opéra de Monte-Carlo.

The soprano performed the role of Miranda in a workshop of Tod Machover’s new opera Death and the Powers in September 2009, and subsequently made her debut at New York City Opera as Zerlina in Christopher Alden’s new production of Don Giovanni. She appeared as Flora in The Turn of the Screw for her debut with Houston Grand Opera, and returned to Eugene Opera to sing the role of Susanna in Mozart’s Le nozze di Figaro. The spring of 2010 found Ms. Harvey at Atlanta Opera, where she covered Pamina in Die Zauberflöte and sang matinee performances of the role. She also performed the Pergolesi Stabat Mater with theOrchestra of St. Luke’s at the Baryshnikov Arts Center. Ms. Harvey bowed at Glimmerglass Opera in the summer of 2010 as Seleuce in the U.S. professional stage premiere of Händel’s Tolomeo, where critic David Shengold declared she “dazzled physically and vocally”.

During the 2008-2009 season, Ms. Harvey made company debuts with Dallas Opera as Barbarina in Mozart’s Le nozze di Figaro, Portland Opera as Flora in Britten’s The Turn of the Screw, and Eugene Opera as Eurydice in Offenbach’s Orpheus in the Underworld. On the concert and recital platforms, Ms. Harvey made debuts with the San Francisco Symphony as Leila in performances of Gilbert & Sullivan’s Iolanthe conducted by George Manahan, and with Steven Blier and the New York Festival of Song at Merkin Concert Hall and the Caramoor Festival. In the summer of 2009, Ms. Harvey returned to Glimmerglass Opera to sing the role of Belinda in Jonathan Miller’s new production of Purcell’s Dido and Aeneas.

In the summer of 2008, Ms. Harvey 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, Ms.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.

Ms. 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).

Ms. 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.

Headshot by Arielle Doneson.

Royal Opera, Covent Garden – Le nozze di Figaro

Passionate rather than pert, a firebrand as quick with her fists as her tongue, she’s the best Susanna we’ve seen in the house for ages.”

Alexandra Coghlan, The Spectator

“Joélle Harvey sings the most delectably mellifluous Susanna to have been heard here for some years…”

Richard Fairman, Financial Times

Glyndebourne Festival Opera – Giulio Cesare

Joélle Harvey makes a captivating debut as the skittish kitten Cleopatra, singing with an airy grace matched by her accomplished disco jives. “Se pietà”, the moment when things turn serious for her, was beautifully done…”

Rupert Christiansen, Telegraph

“This time round, the American soprano Joélle Harvey brings very different qualities. Most importantly, her sense of Handelian style is infinitely superior and she forms part of the strongest cast yet for this production, with no weak link. The stereotypical image of Cleopatra — as irresponsible sex-kitten — proves remarkably resistant to scholarship…but later the character deepens with a pair of sublime grief-stricken arias, the second of which, Piangerò, Harvey delivered with heart stopping eloquence.”

Barry MillingtonEvening Standard

“The big change from the previous seasons is that the production has a new Cleopatra…in Joélle Harvey, also an American, it has its new star. She has a fine, agile voice and a compelling stage presence which holds the attention naturally, without anything effortful about it. And she can definitely dance. She also brought deep pathos to her Act 3 aria “Piangerò la sorte mia”, aided by a wonderfully supportive and lyrical flute line from Lisa Beznosiuk.”

Sebastian ScotneyThe Arts Desk

“First, and most stunning, came the American soprano Joélle Harvey whose portrayal of Cleopatra has everything.

“She can sing, dance and act to perfection, and also shows great comic timing and a tear-jerking ability to convey grief.

“After an opening act of pure playfulness, her singing of the great Piangero (I shall lament) aria when she thinks her lover Caesar is dead, was breathtakingly powerful in its emotion, sending many of the audience off to their half-time picnics with damp eyes.

“I do not think I have ever witnessed a theatre so transfixed and utterly silent as when Harvey was singing this aria.

“I cannot help feeling that if Richard Burton had seen Joélle Harvey’s as Cleopatra, he would never have bothered with Elizabeth Taylor.”

William HartstonExpress

“William Christie, who conducted the production’s première, returns to lead the Orchestra of the Age of Enlightenment in a beautifully shaped account…a few of his original cast return to their roles, but it’s newcomer Joélle Harvey who impressed most at this opening performance. Cleopatra has eight arias (of which only one is cut in this production) and Harvey surmounted the challenge of each with panache, poise and wit. Her purity of line and ability to gently bend a note made “Se pietà” truly memorable. Her coloratura was crystal clear, rattled off in thrilling fashion in “Da tempeste” where she was evidently having an absolute ball on stage. Harvey is as accomplished a hoofer as De Niese, revelling in the show’s joyous choreography. A triumph.”

Mark Pullinger, Bachtrack

“And in the American soprano Joélle Harvey we have a Cleopatra with consummate artistry: she’s an accomplished dancer and comedian, and a singer with the exquisite musicality which Handel’s score ideally demands, and for much of this evening she’s exercising all these talents at once.”

Michael ChurchThe Independent

The English Concert – Rinaldo

In the love scenes with Joelle Harvey’s exquisite Almirena Davies was in his element, his soft-grained sound a perfect fit for Harvey’s light, instrumental delicacy, shown to perfection in ‘Lascia ch’io pianga’ and the teasing number ‘Bel piacere.’ Nightingales seemed to perch on her shoulders during her delectable birdsong aria, ‘Augelletti’ – perfect casting that whets the appetite for this lovely singer’s Cleopatra at Glyndebourne this summer.”

Hugh Canning, Opera Magazine

Utah Opera – The Rake’s Progress

Joélle Harvey’s performance of Anne Trulove, the Rake’s long-suffering girlfriend, was impressive. Harvey’s clear, unaffected soprano displayed a wide palette of color and shading best exemplified during “No word from Tom,” ending with a pianissimo high C that blossomed without distortion into a thrilling climax for the first act.”

Robert Coleman, Opera News

“Soprano Joélle Harvey, the embodiment of virtue as Anne Trulove, sang with clarity and sensitivity. She commanded the stage in the stunning scene in which Anne sets off to rescue Tom, but was even more compelling in the quietly heartbreaking scene in which she bids him farewell for good.”

Catherine Reese Newton, The Salt Lake Tribune

Kilkenny Festival – Acis and Galatea

Joélle Harvey was a stunning Galatea, with a creamy voice, effortless coloratura and considerable stage presence.”

Ian Fox, Opera Magazine

Glyndebourne Festival Opera – La finta giardiniera

Joélle Harvey as the servant girl Serpetta, an almost constant vocal and physical presence, was a model of sensitivity…”

Opera Magazine

Dallas Opera – Death and the Powers

“The vocal writing for the soloists is largely traditional, and the climactic scene, in which Miranda (Harvey) declares her attachment to real physical life but accepts her absorption into “the system,” is a visceral, rock-concert-style moment that’s worth experiencing.”

Wayne Lee Gay, D Magazine

New York Philharmonic – Handel’s Messiah

Or perhaps you caught the beginning of Joélle Harvey’s exquisite rendition of “I know that my Redeemer liveth” and marveled…how evenly weighted her liquid soprano remained across the aria’s big interval jumps. Ms. Harvey’s luminous soprano was well cast in the pastoral passages as well as in the gently lilting melody of “How beautiful are the feet.”
Corinna da Fonseca-Wollheim, New York Times

Glyndebourne Touring Opera – L’elisir d’amore

Rising above everyone else was the radiant Adina of Joélle Harvey, an American soprano in the Danielle de Niese mould whose intelligent interpretations and fresh, agile voice have sent her star rocketing into the ascendant.”
Mark Valencia, WhatsOnStage

Early Opera Company – Serse (Recording)

The cast is superb throughout…through Joélle Harvey’s ethereal Atalanta (tingling in her Act 2 aria with its exquisite postlude).”
Nicholas Kenyon, The Guardian

Festival d’Aix-en-Provence – Don Giovanni

On the women’s side, it’s the Zerlina of Joélle Harvey, a veteran of the European Academy of Music, who wins unanimous support. A clear voice, powerful, and with perfect rectitude. Matched with a pretty face and a great stage presence: success.”
Michel Egea, La Provence

Best of the ladies was soprano Joélle Harvey as a delightfully fresh Zerlina…”
Stephen J. Mudge, Opera News

Handel & Hadyn Society – Jephtha

Among the soloists, soprano Joélle Harvey, a radiantly sublime Iphis, was the most impressive.”
Mark Swed, The Los Angeles Times

Among the vocal soloists, the clear standout on Friday was the young soprano Joélle Harvey, who gave an impeccably controlled performance as Iphis, blending style, technique, and an ear-catching luminosity of tone.”
Jeremy Eichler, The Boston Globe

San Francisco Symphony – Peer Gynt

Even when the production lost its footing, there was soprano Joélle Harvey in the role of Solveig, the young maiden who stands by her man, the peripatetic, heartless Peer Gynt.

“She was the heart of the show. What a voice — as pure as Solveig’s character — precisely pouring across her wide range, with a perfect leap up an octave at the end of Grieg’s haunting “Solveig’s Song.” Wow.”
Richard Scheinin, Mercury News

Soprano Joélle Harvey brought luminous tone and sweet phrasing to her role as the faithful Solveig, and the Symphony Chorus did well with its few brief moments.”
Joshua Kosman, San Francisco Chronicle

Glyndebourne Touring Opera – Le nozze di Figaro

Joélle Harvey’s Susanna is the star by some stretch — impeccably detailed, comically enchanting and finishing it all off with a stunning aria.”
Kieron Quirke, London Evening Standard

Loconsolo’s warmth and anger is nicely foiled by Joélle Harvey’s self-assured, exquisite Susanna.”
Tim Ashley, The Guardian

BBC Proms – Bach B Minor Mass

Soprano Joélle Harvey made a strong Proms debut, her duet with Davies particularly full of Italianate baroque flair and grace.”
Charlotte Gardner, The Arts Desk

Glyndebourne Festival Opera – The Fairy Queen

Alongside a fine line-up of the acting parts…is a strong cast of soloists…Joélle Harvey impresses as Juno.”
Laura Battle, The Financial Times

The pick of the soloists was Joélle Harvey, whose pristine soprano and excellent baroque technique made for a fine [sic]‘Come all ye songsters of the sky’ and an even better Juno, suspended from above, in her Epithalamium proclaiming the ‘Thrice happy lovers’, despite the fact that Hippolyta is entirely absent from this version of the play. A silvery top and exquisite tone made for charming contributions through the evening.”
Mark Pullinger, Opera Britannia

New York City Opera – Orpheus

The baritone Daniel Teadt, as Orpheus, and the soprano Joélle Harvey, as Eurydice, make an adorable couple…Ms. Harvey’s bright, agile soprano and winsome presence are just right for Eurydice.”
Anthony Tommasini, The New York Times

Joélle Harvey was a physically and vocally lovely Eurydice.”
Judith Malafronte, Opera News

As Eurydice, Joélle Harvey displayed enough charisma, musical and dramatic ease, and distinctive vocal color to make an ingénue truly memorable.”
Ronni Reich, The New Jersey Star-Ledger

[Teadt’s Orpheus] was also an ideal mate for Joélle Harvey’s sensuously sung and acted Eurydice, who brought a rosy bloom to her brief but beautiful arias.”
Olivia Giovetti, WQXR New York Public Radio

Joelle Harvey’s Eurydice was simply stunning: melting lyricism one moment, merry fireworks the next, and all sung dead-center and with feeling.”
Robert Levine, ClassicsToday.com

The Sixteen – Saul

[Sarah Connolly’s] limpid mezzo also intertwined delightfully with Joélle Harvey’s Michal, making one of Handel’s rare duets seem all the more precious for its scarcity in an aria-heavy work. Harvey is a name to watch, a soprano with presence, poise and silvery top notes.”
Neil Fisher, The Times

Teatro La Fenice – Acis and Galatea

Joelle Harvey gives voice and body to a tenderly passionate and at the same time painfully aware Galatea. The voice grows rich [with] fluid phrasing in Handel, a strong line of singing soft and safe.”
Alessandro Cammarano, OperaClick

Washington Concert Opera – Werther

There was impressive work, too, from a consistently well-chosen cast…in particular, Joélle Harvey, whose sunny presence and bell-like lyric soprano made much of the role of Sophie.”
Joe Banno, Washington Post

San Francisco Symphony – Carmina Burana

Soprano Joélle Harvey, a distinguished recent participant in the Merola Opera Program, brought elegant phrasing and a smoky tone to her assignment.”
Joshua Kosman, San Francisco Chronicle

Opéra de Monte-Carlo – Death and the Powers

And most movingly, Joélle Harvey as Simon’s daughter, Miranda, searches for her father’s spirit like a Shakespearean innocent, with a simple, effortless soprano.”
Jonathan Levi, New York Times

[Machover’s] vocal lines are shown to best advantage in Miranda’s heart- rending lament, a crowning moment for Joélle Harvey’s soaring soprano.”
Stephen Mudge, Musical America

Glimmerglass Opera – Tolomeo

As the ingenuous Seleuce, Harvey displayed a silvery soprano that caressed the florid lines with delicacy and fine-grained dynamic gradations. Her duets with Costanzo were sublime.”
Joanne Sydney Lessner, Opera News

Seleuce, a poised and moving Joélle Harvey, bade the breezes convey her desires by singing into electric fans.”
Steve Smith, New York Times

Former Young Artists Anthony Roth Costanzo and Joélle Harvey — last year’s stellar Sorceress and Belinda in Dido and Aeneas — returned in triumph to the strikingly demanding Senesino and Cuzzoni roles. Both acted and sang up a storm…Harvey dazzled physically and vocally as his beloved Seleuce.”
David Shengold, Boston Music Intelligencer

Joélle Harvey, as his love Seleuce, produces a light, creamy soprano voice that transports the audience, especially in her duets with Costanzo.”
Brenda Tremblay, Rochester City Newspaper

This opera, typically Handel in its plot of lovers trying to reunite, sports three sensational performances – Canadian mezzo-soprano Julie Boulianne as Elisa, American countertenor Anthony Roth Costanzo as Tolomeo and American soprano Joélle Harvey as Seleuce. These three sail through their parade of da capo arias in brilliant fashion.”
Paula Citron, The Globe and Mail

Orchestra of St. Luke’s – Pergolesi Stabat Mater

The two soloists sang well; Ms. Harvey with a clear, appealing sound…The two women joined forces to sing with potent expression in the work’s poignant duets.”
Vivien Schweitzer, New York Times

Harvey (who recently charmed in New York City Opera’s Don Giovanni) and Johnson…were a premium pair of vocal soloists, the dark espresso tones in the former’s soprano melding easily with the latter’s creamy mezzo. Both trod the fine line between operatic singing and choral singing, with Harvey boasting a pure tone and crystalline high notes that shot out like bullets. Both were also keen actresses in their parts—even without the supertitles (projected starkly on the back wall), you could read the story in their faces.”
Olivia Giovetti, Time Out New York

Houston Grand Opera – The Turn of the Screw

Joélle Harvey’s Flora exudes a natural exuberance, occasionally bursting into the wildness the Governess fears.”
Everett Evans, Houston Chronicle

Joélle Harvey is the aptly petite but vocally superb Flora.”
Scott Cantrell, The Dallas Morning News

Eugene Opera – Le nozze di Figaro

Joélle Harvey as Susanna…is allotted her only aria at the very end; yet I have never heard “Deh vieni” so touchingly sung.”
Marilyn Farwell, Eugene Register Guard

New York City Opera – Don Giovanni

Above all, the cast was outstanding, young, attractive and in splendid voice…all the women soared through their demanding roles…Joélle Harvey a sweet yet seductive Zerlina.”
Zinta Lundborg, Bloomberg.com

…with Joélle Harvey sweet against all odds as Zerlina.”
Martin Bernheimer, Financial Times

The renovated hall still tends to muffle men’s voices, but the higher soprano sounds ring out brilliantly…Joélle Harvey (Zerlina) and Stefania Dovhan (Donna Anna) also sounded clear and true.”
James Jorden, New York Post

The youthful freshness of Joélle Harvey’s soprano makes her an ideal Zerlina. Her tone has a slight flutter that suggests an alluring sensuality (her ‘Vedrai carino’ was memorably delicious).”
Andrew Farach-Colton, ClassicalSource.com

Joelle Harvey was ravishing as Zerlina, with a seductive “Batti, batti….”
Robert Levine, ClassicsToday.com

Soprano Joélle Harvey lends lovely pianissimos to her puzzled, native-costumed Zerlina.”
David Finkle, Theatermania

Glimmerglass Opera – Dido and Aeneas

Joélle Harvey delivered a cheerily sung, do-good Belinda.”
Joanne Sydney Lessner, Opera News

Lovely-voiced Joélle Harvey and clarion countertenor Anthony Roth Costanzo (both promised alongside Boulianne in next season’s much-awaited Tolomeo) made a world- class Belinda and Sorceress.”
David Shengold, The Boston Musical Intelligencer

Really superb was the Belinda of Joélle Harvey. Every word was crystal clear. (Were supertitles really necessary with young singers well schooled to sing English clearly?) She took time in the recits and made a role that can seem like an also-ran, into the most vivid portrayal on stage.”
Keith Kibler, The Berkshire Review for the Arts

…and Joélle Harvey has a very pretty and expressive feathery soprano.”
Paula Citron, The Globe and Mail

Joélle Harvey was a vocally radiant and emotionally direct Belinda…”
Eli Jacobson, Gay City News

She was followed by the equally convincing Joélle Harvey as Belinda, who sang the role with such an immediate, facile, and beautiful sound that I cannot imagine it sung any better.”
Georges Briscot, Operaticus

Portland Opera – The Turn of the Screw

…Joélle Harvey as Flora sang with a fresh, supple voice and round, musical phrases…”
James McQuillen, The Oregonian

Dallas Opera – Le nozze di Figaro

Joélle Harvey is a petite Barbarina with a big, blazing soprano…”
Scott Cantrell, The Dallas Morning News

Glimmerglass Opera – Orpheus in the Underworld

The vocal standout was one of the company’s young artists, the sparkling Joélle Harvey as a scene-stealing Cupid.”
Heidi Waleson, The Wall Street Journal

…soprano Joélle Harvey was a standout as Cupid. Looking like a pint-sized Ellen Degeneres in a white suit, Harvey had a radiant voice that rose above the crowd.”
Joseph Dalton, Albany Times Union

Soprano Joélle Harvey (a Young American Artist) exuded youth and energy for love; she performed with great clarity and sweetness of tone.”
Jane Dieckmann, The Ithaca Times

Cincinnati Chamber Orchestra – Dido and Aeneas

Harvey was ideally cast as Dido’s confidant Belinda and also as soloist in Bach’s Wedding Cantata. Her sweet, lilting voice and comely appearance lent themselves perfectly to the awakening of spring and love in the Cantata.”
Mary Ellyn Hutton, Music in Cincinnati

San Francisco Opera, Merola Program – Don Giovanni

The lovely soprano Joélle Harvey is delightful and sweetly naughty as Zerlina and sings with an easy clarity and mellifluous sonorousness. Charming her fiancé Masetto out of his sour mood is one of the highlighted scenes as she wiggles like a wanton sheep encouraging him to taste of her amorous ‘remedy.’”
Linda Ayres-Frederick, The San Francisco Bay Times

Soprano Joélle Harvey was an exquisite Zerlina – her singing clear and beautifully balanced, her stage presence sensitive-‘Vedrai, carino,’ the aria in which she tends to her battered beloved, emerged in tender, limpid phrases.”

Joshua Kosman, The San Francisco Chronicle

“Der Hirt auf dem Felsen” by Schubert