Open Site Navigation
  • Instagram
  • Facebook
  • YouTube

A native of Bolivar, New York, soprano Joélle Harvey received her Bachelor’s and Master’s Degrees in vocal performance from the University of Cincinnati College-Conservatory of Music (CCM). She began her career training at Glimmerglass Opera (now The Glimmerglass Festival) and the Merola Opera Program.

Ms. Harvey’s 2022-2023 season brings appearances with a host of internationally-acclaimed organizations. She will join the New York Philharmonic as the soprano soloist in a gala performance of Beethoven’s Symphony No. 9, celebrating the opening of David Geffen Hall and conducted by Jaap van Zweden. She debuts with the Bamberg Symphoniker at the Lucerne Festival (Mahler’s 4th & Alma Mahler songs, conducted by Jakub Hrůša), Deutsches Symphonie-Orchester Berlin (Handel’s Solomon with Robin Ticciati), and the Minnesota Orchestra (Haydn’s The Creation with Paul McCreesh). The season also holds returns to the Cleveland Orchestra (Schubert Mass in E-flat in Cleveland and at Carnegie Hall), Chicago Symphony Orchestra (Carmina Burana), the Cincinnati Symphony Orchestra (Mahler 2) and the Metropolitan Opera (Pamina in The Magic Flute). Notable chamber performances will include a recital with baritone John Moore and pianist Allen Perriello for Philadelphia Chamber Music Society and appearances with the Chamber Music Societies of Lincoln Center and Palm Beach. She also makes her Jacksonville Symphony debut, for Brahms’ Ein deutsches Requiem and debuts with the Orchestra of St. Luke’s in an all-Handel program conducted by Bernard Labadie at Carnegie Hall. During the summer of 2023, she returns to the Glyndebourne Festival as the title role in a new production of Handel’s Semele.


Ms. Harvey’s engagements during the 2021-2022 season included debuts at Opernhaus Zürich (Aristea in Pergolesi’s L’Olimpiade), the Chicago Symphony Orchestra (Barber’s Knoxville: Summer of 1915, conducted by Jakub Hrůša), and The University Musical Society at University of Michigan (Handel’s Messiah). She joined Les Violons du Roy for further Messiah performances, returned to the North Carolina Symphony (Mahler’s Symphony No. 4), the Indianapolis Symphony (Beethoven’s Symphony No. 9), and continued her close collaboration with Boston’s Handel & Haydn Society with Haydn’s The Creation, led by Harry Christophers CBE in his final performances as H&H Artistic Director.


During the 2020-2021 season, Ms. Harvey filmed a performance of Villa-Lobos’ Bachianas Brasilieras No. 5 with The Cleveland Orchestra as part of their re-configured season, made her Cincinnati Symphony May Festival debut, performing Britten’s Les Illuminations and joined the Handel & Haydn Society for a filmed production of their annual Messiah concert. Additionally, she collaborated with Los Angeles Opera on Anna Clyne’s The Gorgeous Nothings, a setting of Emily Dickinson texts for their On Now initiative, and later in the summer joined the Elgin Symphony for Barber’s Knoxville Summer of 1915, and Bard Summerscape for performances of songs by Nadia Boulanger as well as excerpts of Brahms’ Liebeslieder Waltzes.


Other originally scheduled events included her company debut with the Opernhaus Zürich as Aristea in Pergolesi’s L’Olimpiade (postponed), Pat Nixon in Nixon in China with Washington National Opera (cancelled) and Los Angeles Philharmonic (cancelled), Kansas City Symphony for their Messiah (cancelled), L’oca del cairo with Mozartwoche Salzburg (postponed), a Schubert concert with Chamber Music Society of Lincoln Center (postponed), the Brahms Ein Deutsches Requiem with San Diego Symphony and Edo de Waart (cancelled), and Mahler’s 2nd Symphony with the Baltimore Symphony Orchestra (cancelled).


An in-demand vocal soloist, the soprano regularly appears with the United States’ great orchestras, including the New York Philharmonic (Mozart’s Requiem, Handel’s Messiah), the Cleveland Orchestra (Mahler’s 2nd & 4th, Bach’s B Minor Mass), the San Francisco Symphony (Fidelio, Beethoven Mass in C, Handel’s Messiah, Carmina Burana), and the Los Angeles Philharmonic (Nixon in China, Beethoven Missa Solemnis). She has closely collaborated with a celebrated list of conductors, including Leonardo García Alarcón, Harry Bicket, Harry Christophers, Jakub Hrůša, Louis Langrée, Michael Tilson Thomas, Edo de Waart and Franz Welser-Möst.


On the operatic stage, Ms. Harvey appears regularly at the Glyndebourne Festival, having bowed in 6 roles, including Handel’s Cleopatra (Giulio Cesare), Mozart’s Susanna (Le nozze di Figaro) and Donizetti’s Adina (L’elisir d’amore). She made her Metropolitan Opera debut as Pamina in The Magic Flute, her Royal Opera, Covent Garden debut as Susanna, and appeared as Galatea in Acis and Galatea and Zerlina in Don Giovanni with the Festival d’Aix-en-Provence. Other opera performances include Flora in The Turn of the Screw with Houston Grand Opera, Anne Trulove in The Rake’s Progress with Utah Opera, as well as Zerlina and Eurydice in Telemann’s Orpheus with New York City Opera.


Joélle Harvey is closely associated with Boston’s Handel & Haydn Society, where her varied appearances have included Michal in Saul, Dalilia in Samson, and Iphis in Jephtha, as well as London’s The English Concert (Almirena in Rinaldo, Tigrane in Radamisto, Handel’s Messiah). She made her solo Carnegie Hall recital debut in 2019 with pianist Allen Perriello, and has appeared at the BBC Proms as the Mater Gloriosa in Mahler’s 8th Symphony, Servilia in La clemenza di Tito and as a soloist in Bach’s B Minor Mass. She performed John Adams’ El Niño at Amsterdam’s Concertgebouw and with the London Symphony Orchestra, in a performance conducted by the composer. Other career highlights include appearances with the Saint Louis Symphony (Mahler 2), Dallas Symphony Orchestra (Mozart Requiem), Toronto Symphony (Mahler 2), and repeat appearances with the orchestras of Cincinnati, Kansas City, Milwaukee, North Carolina, and Indianapolis.

A celebrated chamber musician, Ms. Harvey has appeared with the Chamber Music Society of Lincoln Center, Music @ Menlo, Saint Paul Chamber Orchestra, Tafelmusik, Les Violons du Roy, Cappella Mediterranea, Arcangelo and the Pygmalion Ensemble.


Joélle Harvey received Second Prize in Houston Grand Opera’s Eleanor McCollum Competition for Young Singers. She was the recipient of a First Prize Award from the Gerda Lissner Foundation and a Sara Tucker Grant from the Richard Tucker Foundation. She is a recipient of the Shoshana Foundation’s 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)

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 Millington, Evening 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 Scotney, The 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 Hartston, Express


“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 Church, The 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,

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,


"…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,


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

"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​Joélle Harvey
00:00 / 11:02


  • Twitter
  • Facebook
  • Instagram

Joélle Harvey