2019-20 CALENDAR

Turandot’s beauty is matched only by her cruelty. To her admirers, she offers a deadly game: solve three riddles and win her hand in marriage. Answer incorrectly and die by the executioner’s blade. As the latest suitor is beheaded before a stunned crowd, a stranger steps forward to accept the challenge, hiding a riddle of his own.

The most ambitious and dazzling opera of Puccini’s career is reimagined in a new production by legendary director Robert Wilson, “a towering figure in the world of experimental theater.” The New York Times.

[text from Canadian Opera Company Website]

Turandot’s beauty is matched only by her cruelty. To her admirers, she offers a deadly game: solve three riddles and win her hand in marriage. Answer incorrectly and die by the executioner’s blade. As the latest suitor is beheaded before a stunned crowd, a stranger steps forward to accept the challenge, hiding a riddle of his own.

The most ambitious and dazzling opera of Puccini’s career is reimagined in a new production by legendary director Robert Wilson, “a towering figure in the world of experimental theater.” The New York Times.

[text from Canadian Opera Company Website]

Turandot’s beauty is matched only by her cruelty. To her admirers, she offers a deadly game: solve three riddles and win her hand in marriage. Answer incorrectly and die by the executioner’s blade. As the latest suitor is beheaded before a stunned crowd, a stranger steps forward to accept the challenge, hiding a riddle of his own.

The most ambitious and dazzling opera of Puccini’s career is reimagined in a new production by legendary director Robert Wilson, “a towering figure in the world of experimental theater.” The New York Times.

[text from Canadian Opera Company Website]

Turandot’s beauty is matched only by her cruelty. To her admirers, she offers a deadly game: solve three riddles and win her hand in marriage. Answer incorrectly and die by the executioner’s blade. As the latest suitor is beheaded before a stunned crowd, a stranger steps forward to accept the challenge, hiding a riddle of his own.

The most ambitious and dazzling opera of Puccini’s career is reimagined in a new production by legendary director Robert Wilson, “a towering figure in the world of experimental theater.” The New York Times.

[text from Canadian Opera Company Website]

Turandot’s beauty is matched only by her cruelty. To her admirers, she offers a deadly game: solve three riddles and win her hand in marriage. Answer incorrectly and die by the executioner’s blade. As the latest suitor is beheaded before a stunned crowd, a stranger steps forward to accept the challenge, hiding a riddle of his own.

The most ambitious and dazzling opera of Puccini’s career is reimagined in a new production by legendary director Robert Wilson, “a towering figure in the world of experimental theater.” The New York Times.

[text from Canadian Opera Company Website]

Cry, ‘bravo!’ to Italian opera classics at a gala evening featuring Joyce El-Khoury and Michael Fabiano, in aid of The Passage.

Hear arias, ensembles and choruses presented by Petroc Trelawny and conducted by Toby Purser, with the award-winning Streetwise Opera, Orion Orchestra and Orion Chorus on stage.

The Passage is a charity that provides resources to encourage, inspire and challenge homeless people to transform their lives.

Performers
Orion Orchestra
Toby Purser conductor
Joyce El-Khoury soprano
Michael Fabiano tenor
Orion Chorus
Streetwise Opera

Repertoire
Programme includes: –
Rossini: Overture; Largo al factotum from The Barber of Seville
Catalani: Ebben? Ne andrò lontana from La Wally
Verdi: Quando le sere al placido from Luisa Miller; Chorus of the Hebrew Slaves from Nabucco
Mascagni: Intermezzo from Cavalleria rusticana
Puccini: Torna ai felici di from Le villi; O soave fanciulla from La bohème; Nessun Dorma from Turandot

[text and programme from Royal Festival Hall Website]

Opera in four acts
Libretto by Nicolas-François Guillardin
French with German subtitles

Murder in the name of the gods, murder in the name of revenge: It is a family story written in blood and its last chapter bears the name of Iphigénie who is forced to kill strangers as a sacrifice to the gods whilst living as a priestess in exile. When one day one of the strangers reminds her of her brother, memories arise from a fog of oblivion: memories of her father, her mother, her beloved brother and her youth that was overshadowed by war. That Iphigénie lives alongside other women who carry their own internal ghosts around – a chorus of the last witnesses of changing times.

Conductor Christopher Moulds
Director Krzysztof Warlikowski
Stage and Costume Design Małgorzata Szczęśniak
Lighting Felice Ross
Choreography Claude Bardouil
Dramaturgy Miron Hakenbeck
Chorus Bernhard Moncado

Iphigénie Joyce El-Khoury
Oreste Johannes Kammler
Pylade Mingjie Lei
Thoas Michael Mayes
Diane Carina Schmieger
Aufseher des Thoas/Skythe Elliott Carlton Hines
Griechin/Priesterin N. N.
Iphigénie (Schauspielerin) Renate Jett
Staatsopernchor Stuttgart, Staatsorchester Stuttgart, Statisterie der Staatsoper Stuttgart

Opera in four acts
Libretto by Nicolas-François Guillardin
French with German subtitles

Murder in the name of the gods, murder in the name of revenge: It is a family story written in blood and its last chapter bears the name of Iphigénie who is forced to kill strangers as a sacrifice to the gods whilst living as a priestess in exile. When one day one of the strangers reminds her of her brother, memories arise from a fog of oblivion: memories of her father, her mother, her beloved brother and her youth that was overshadowed by war. That Iphigénie lives alongside other women who carry their own internal ghosts around – a chorus of the last witnesses of changing times.

Conductor Christopher Moulds
Director Krzysztof Warlikowski
Stage and Costume Design Małgorzata Szczęśniak
Lighting Felice Ross
Choreography Claude Bardouil
Dramaturgy Miron Hakenbeck
Chorus Bernhard Moncado

Iphigénie Joyce El-Khoury
Oreste Johannes Kammler
Pylade Mingjie Lei
Thoas Michael Mayes
Diane Carina Schmieger
Aufseher des Thoas/Skythe Elliott Carlton Hines
Griechin/Priesterin N. N.
Iphigénie (Schauspielerin) Renate Jett
Staatsopernchor Stuttgart, Staatsorchester Stuttgart, Statisterie der Staatsoper Stuttgart

Opera in four acts
Libretto by Nicolas-François Guillardin
French with German subtitles

Murder in the name of the gods, murder in the name of revenge: It is a family story written in blood and its last chapter bears the name of Iphigénie who is forced to kill strangers as a sacrifice to the gods whilst living as a priestess in exile. When one day one of the strangers reminds her of her brother, memories arise from a fog of oblivion: memories of her father, her mother, her beloved brother and her youth that was overshadowed by war. That Iphigénie lives alongside other women who carry their own internal ghosts around – a chorus of the last witnesses of changing times.

Conductor Christopher Moulds
Director Krzysztof Warlikowski
Stage and Costume Design Małgorzata Szczęśniak
Lighting Felice Ross
Choreography Claude Bardouil
Dramaturgy Miron Hakenbeck
Chorus Bernhard Moncado

Iphigénie Joyce El-Khoury
Oreste Johannes Kammler
Pylade Mingjie Lei
Thoas Michael Mayes
Diane Carina Schmieger
Aufseher des Thoas/Skythe Elliott Carlton Hines
Griechin/Priesterin N. N.
Iphigénie (Schauspielerin) Renate Jett
Staatsopernchor Stuttgart, Staatsorchester Stuttgart, Statisterie der Staatsoper Stuttgart

Opera in four acts
Libretto by Nicolas-François Guillardin
French with German subtitles

Murder in the name of the gods, murder in the name of revenge: It is a family story written in blood and its last chapter bears the name of Iphigénie who is forced to kill strangers as a sacrifice to the gods whilst living as a priestess in exile. When one day one of the strangers reminds her of her brother, memories arise from a fog of oblivion: memories of her father, her mother, her beloved brother and her youth that was overshadowed by war. That Iphigénie lives alongside other women who carry their own internal ghosts around – a chorus of the last witnesses of changing times.

Conductor Christopher Moulds
Director Krzysztof Warlikowski
Stage and Costume Design Małgorzata Szczęśniak
Lighting Felice Ross
Choreography Claude Bardouil
Dramaturgy Miron Hakenbeck
Chorus Bernhard Moncado

Iphigénie Joyce El-Khoury
Oreste Johannes Kammler
Pylade Mingjie Lei
Thoas Michael Mayes
Diane Carina Schmieger
Aufseher des Thoas/Skythe Elliott Carlton Hines
Griechin/Priesterin N. N.
Iphigénie (Schauspielerin) Renate Jett
Staatsopernchor Stuttgart, Staatsorchester Stuttgart, Statisterie der Staatsoper Stuttgart

Massenet / Puccini: maître et génie

C’est un parfum de charme, de sensualité et d’amour que distille cette matinée. Suite-pastiche du célèbre opéra Manon, Le Portrait de Manon (1894) – seul opéra-comique de Massenet – transporte les spectateurs auprès d’un homme, Des Grieux, vieillissant, nostalgique et méfiant de l’amour au point de refuser à son jeune protégé d’épouser une certaine Aurore à la filiation peu claire. La partition simple, pleine de grâce et de tendres émotions répond à celle imaginée par Puccini dans son premier opéra composé en 1884, Le Villi, créature fantastique, vengeant impitoyablement l’amour bafoué.

Formes poétiques et formes musicales font corps, mélodies et harmonies développent une rare puissance évocatrice, renforcée par des orchestrations élégantes. Tout concourt à l’expression de l’amour. Sentiment célébré par une distribution de luxe, placée sous la baguette de Guy Condette, ancien directeur de l’Orchestre et de l’Opéra de Limoges.

Artiste complet, Tassis Christoyannis est particulièrement apprécié pour ses qualités de musicien et de comédien. Il est l’un des rares barytons à pouvoir chanter aussi bien Des Grieux que Guglielmo dans Le Villi. Joyce El-Khoury, par sa présence magnifique et sa voix remarquable investit le rôle d’Anna dans Puccini. La jeune mezzo-soprano française Victoire Bunel donne au rôle travesti de Jean dans Massenet toute sa musicalité et la richesse de son timbre. Ils sont accompagnés du ténor géorgien Irakli Kakhidzé, de la jeune soprano belge Sheva Tehoval et du ténor marseillais de renommée internationale Luca Lombardo.

Distribution

Direction : Guy Condette
Cheffe de chant : Elisabeth Brusselle
Collaboration artistique : Sergio Simón
Orchestre de l’Opéra de Limoges / Chœur de l’Opéra de Limoges (direction : Edward Ananian-Cooper)

Des Grieux, Guglielmo : Tassis Christoyannis
Anna : Joyce El-Khoury
Roberto : Kamen Chanev
Jean : Victoire Bunel
Aurore : Sheva Tehoval
Tiberge : Luca Lombardo

Œuvres interprêtées

Le Portrait de Manon, Opéra-comique en 1 acte (1894) de Jules Massenet sur un livret de Georges Boyer, en écho à Manon (1884), du même compositeur d’après le roman de l’Abbé Prévost, L’Histoire du Chevalier Des Grieux et de Manon Lescaut.

Le Villi , Opéra ballet en deux actes (1884) de Giacomo Puccini sur un livret de Ferdinando Fontana, d’après la nouvelle Les Willis de Jean-Baptiste Alphonse Karr. [text d’Opéra de Limoges]

Opera in four acts
Libretto by Nicolas-François Guillardin
French with German subtitles

Murder in the name of the gods, murder in the name of revenge: It is a family story written in blood and its last chapter bears the name of Iphigénie who is forced to kill strangers as a sacrifice to the gods whilst living as a priestess in exile. When one day one of the strangers reminds her of her brother, memories arise from a fog of oblivion: memories of her father, her mother, her beloved brother and her youth that was overshadowed by war. That Iphigénie lives alongside other women who carry their own internal ghosts around – a chorus of the last witnesses of changing times.

Conductor Christopher Moulds
Director Krzysztof Warlikowski
Stage and Costume Design Małgorzata Szczęśniak
Lighting Felice Ross
Choreography Claude Bardouil
Dramaturgy Miron Hakenbeck
Chorus Bernhard Moncado

Iphigénie Joyce El-Khoury
Oreste Johannes Kammler
Pylade Mingjie Lei
Thoas Michael Mayes
Diane Carina Schmieger
Aufseher des Thoas/Skythe Elliott Carlton Hines
Griechin/Priesterin N. N.
Iphigénie (Schauspielerin) Renate Jett
Staatsopernchor Stuttgart, Staatsorchester Stuttgart, Statisterie der Staatsoper Stuttgart

Top class artists on stage and illustrious names in the audience: the festival opera gala in aid of the German AIDS Foundation will be held for the 11th time in 2020. Not only is this a popular classical music performance and major social event, it is now one of Germany’s leading charitable occasions. International opera stars and award-winning singers from the Deutsche Oper am Rhein’s own ensemble perform a splendid programme of music from operas, operettas and musicals together with the Duisburger Philharmoniker. In 2020 star tenor and director Rolando Villazón will compere the evening for the first time. All the artists waive their fees so that all the proceeds can once again be donated to the German AIDS Foundation’s aid projects in Düsseldorf, North Rhine-Westphalia and Mozambique. By buying a ticket and making a donation you can actively support this vital relief for people with HIV/AIDS.

***
Under the patronage of Thomas Geisel, Lord Mayor of the state capital Düsseldorf

In collaboration with the German AIDS Foundation

Prices include a free drink to welcome you before the concert.
—
VIP TICKETS 500,00 € including a gala dinner with the artists and guests of honour after the performance
These can only be purchased directly from the German AIDS Foundation on Tel. +49 228 60 469 34

Musikalische Leitung
Roberto Rizzi Brignoli
Moderation
Rolando Villazón
Gesang
Joyce El-Khoury, Anita Hartig, Maria Mudryak, Tuuli Takala, Marina Viotti, Matteo Lippi, Jonathan Tetelmann, Freddie De Tommaso, Andrey Zhilikhovsky, Guido Loconsolo, Ramona Zaharia
Orchester
Duisburger Philharmoniker
[text source]

130 years after the death of a composer, rarely are such works discovered that substantially alter our view of the oeuvre. Ferenc Liszt was a unique composer in this regard as well: the surviving first act of the opera he based on Byron’s tragedy was first performed in Weimar in 2018.
The manuscript of the composition was found at Weimar’s Goethe and Schiller Archive, and David Trippett, a musicologist at the University of Cambridge, thinks the music of Sardanapalo is breath-taking. It reflects the influence of Bellini, Meyerbeer and Wagner, and it combines an Italian lyricism with Liszt’s unmistakably original harmonic vocabulary. Trippett reconstructed the piece from the manuscript, and also wrote an orchestration for it, and this is the version that will be performed in Budapest.

Kirill Karabits, the conductor of the Weimar premiere believes the music is magnificent and enchanting, and the piece has opened a new chapter in the history of 19th century.

Imagine watching the world pass you by…but being unable to do anything about it. Such was the fate of thousands who succumbed to a mysterious sleeping sickness, rendering them immobile and voiceless for more than forty years. As time went on, daughters grew up without their mothers, husbands remarried, and mothers wasted away from grief. Decades later, a brilliant young doctor discovered a revolutionary treatment to bring his patients back to life in a world they no longer recognized. Based on the true story of Dr. Oliver Sacks, Awakenings is a moving story of memories, loss, and life rediscovered.

ROSE is Joyce El-Khoury
MIRIAM is Deborah Nansteel
MR. RODRIGUEZ is David Portillo
DR. OLIVER SACKS is Jarrett Logan Porter

CONDUCTOR is Robert Kalb
DIRECTOR is James Robinson

Made possible in part by the Fred M. Saigh Endowment at Opera Theatre and by the Sally S. Levy Family Fund for New Works, which provides support for contemporary opera and related community engagement activities. Leadership support comes from The Andrew W. Mellon Foundation and the production is supported in part by an award from the National Endowment for the Arts. Audience development programming for this project is made possible by PNC Arts Alive.

[source]

Imagine watching the world pass you by…but being unable to do anything about it. Such was the fate of thousands who succumbed to a mysterious sleeping sickness, rendering them immobile and voiceless for more than forty years. As time went on, daughters grew up without their mothers, husbands remarried, and mothers wasted away from grief. Decades later, a brilliant young doctor discovered a revolutionary treatment to bring his patients back to life in a world they no longer recognized. Based on the true story of Dr. Oliver Sacks, Awakenings is a moving story of memories, loss, and life rediscovered.

ROSE is Joyce El-Khoury
MIRIAM is Deborah Nansteel
MR. RODRIGUEZ is David Portillo
DR. OLIVER SACKS is Jarrett Logan Porter

CONDUCTOR is Robert Kalb
DIRECTOR is James Robinson

Made possible in part by the Fred M. Saigh Endowment at Opera Theatre and by the Sally S. Levy Family Fund for New Works, which provides support for contemporary opera and related community engagement activities. Leadership support comes from The Andrew W. Mellon Foundation and the production is supported in part by an award from the National Endowment for the Arts. Audience development programming for this project is made possible by PNC Arts Alive.

[source]

Imagine watching the world pass you by…but being unable to do anything about it. Such was the fate of thousands who succumbed to a mysterious sleeping sickness, rendering them immobile and voiceless for more than forty years. As time went on, daughters grew up without their mothers, husbands remarried, and mothers wasted away from grief. Decades later, a brilliant young doctor discovered a revolutionary treatment to bring his patients back to life in a world they no longer recognized. Based on the true story of Dr. Oliver Sacks, Awakenings is a moving story of memories, loss, and life rediscovered.

ROSE is Joyce El-Khoury
MIRIAM is Deborah Nansteel
MR. RODRIGUEZ is David Portillo
DR. OLIVER SACKS is Jarrett Logan Porter

CONDUCTOR is Robert Kalb
DIRECTOR is James Robinson

Made possible in part by the Fred M. Saigh Endowment at Opera Theatre and by the Sally S. Levy Family Fund for New Works, which provides support for contemporary opera and related community engagement activities. Leadership support comes from The Andrew W. Mellon Foundation and the production is supported in part by an award from the National Endowment for the Arts. Audience development programming for this project is made possible by PNC Arts Alive.

[source]

Imagine watching the world pass you by…but being unable to do anything about it. Such was the fate of thousands who succumbed to a mysterious sleeping sickness, rendering them immobile and voiceless for more than forty years. As time went on, daughters grew up without their mothers, husbands remarried, and mothers wasted away from grief. Decades later, a brilliant young doctor discovered a revolutionary treatment to bring his patients back to life in a world they no longer recognized. Based on the true story of Dr. Oliver Sacks, Awakenings is a moving story of memories, loss, and life rediscovered.

ROSE is Joyce El-Khoury
MIRIAM is Deborah Nansteel
MR. RODRIGUEZ is David Portillo
DR. OLIVER SACKS is Jarrett Logan Porter

CONDUCTOR is Robert Kalb
DIRECTOR is James Robinson

Made possible in part by the Fred M. Saigh Endowment at Opera Theatre and by the Sally S. Levy Family Fund for New Works, which provides support for contemporary opera and related community engagement activities. Leadership support comes from The Andrew W. Mellon Foundation and the production is supported in part by an award from the National Endowment for the Arts. Audience development programming for this project is made possible by PNC Arts Alive.

[source]

Imagine watching the world pass you by…but being unable to do anything about it. Such was the fate of thousands who succumbed to a mysterious sleeping sickness, rendering them immobile and voiceless for more than forty years. As time went on, daughters grew up without their mothers, husbands remarried, and mothers wasted away from grief. Decades later, a brilliant young doctor discovered a revolutionary treatment to bring his patients back to life in a world they no longer recognized. Based on the true story of Dr. Oliver Sacks, Awakenings is a moving story of memories, loss, and life rediscovered.

ROSE is Joyce El-Khoury
MIRIAM is Deborah Nansteel
MR. RODRIGUEZ is David Portillo
DR. OLIVER SACKS is Jarrett Logan Porter

CONDUCTOR is Robert Kalb
DIRECTOR is James Robinson

Made possible in part by the Fred M. Saigh Endowment at Opera Theatre and by the Sally S. Levy Family Fund for New Works, which provides support for contemporary opera and related community engagement activities. Leadership support comes from The Andrew W. Mellon Foundation and the production is supported in part by an award from the National Endowment for the Arts. Audience development programming for this project is made possible by PNC Arts Alive.

[source]

STABAT MATER G. ROSSINI SOPRANO : JOYCE EL KHOURY
MEZZO : DANIELA BARCELLONA
TENOR : PAOLO FANALE
BASS : KRZYSZTOF BACZYK
CONDUCTOR : TOUFIC MAATOUK
STABAT MATER
G. ROSSINI SOPRANO : JOYCE EL KHOURY
MEZZO : DANIELA BARCELLONA
TENOR : PAOLO FANALE
BASS : KRZYSZTOF BACZYK
CONDUCTOR : TOUFIC MAATOUK

THE BUCHAREST RADIO CHAMBER ORCHESTRA
THE ANTONINE UNIVERSITY AND NDU CHOIRS

This year marks the 150th anniversary of Rossini’s death and on this occasion, the Baalbeck Festival is proud to include in its program the Italian composer’s Stabat Mater, masterpiece of sacred music and the finale of Verdi’s Requiem Libera me, composed for Rossini.

This concert will showcase 4 world class soloists: the radiant soprano Joyce El Khoury who triumphed last year as the lead role in La Traviata at the London Royal Opera House, the wonderful Italian mezzo and bel canto specialist Daniela Barcellona, alongside the tenor Paolo Fanale and the bass Krzysztof Bączyk, two remarkable rising stars.

Father Toufic Maatouk will conduct the Bucharest Radio Chamber Orchestra as well as the Antonine University and NDU Choirs. This exceptional concert is produced in collaboration with the Italian Cultural Institute and the Italian Embassy in Lebanon.

[text source]

Pagliacci: Music and Libretto by Ruggero Leoncavallo
Cavalleria rusticana: Music by Pietro Mascagni; Libretto by Giovanni Targioni-Tozzetti and Guido Menasci

Experience twice the drama and twice the thrill with an earthy new production of opera’s classic double bill. Small-town lives are turned upside down when a returning soldier and a vengeful clown upset provincial norms, resulting in shocking crimes of passion. In a single performance, two distinct yet complementary tales of adultery, jealousy, and revenge explore elemental emotions in true verismo style.

Guy Montavon’s highly theatrical new production transforms the public squares of southern Italy into a revolving mask-filled arena, with eye-catching commedia dell’arte costumes for Leoncavallo’s clowns. As the chorus watches like spectators at a coliseum, the characters cannot escape their tragic fates.

Joyce El-Khoury is Nedda

Pagliacci: Music and Libretto by Ruggero Leoncavallo
Cavalleria rusticana: Music by Pietro Mascagni; Libretto by Giovanni Targioni-Tozzetti and Guido Menasci

Experience twice the drama and twice the thrill with an earthy new production of opera’s classic double bill. Small-town lives are turned upside down when a returning soldier and a vengeful clown upset provincial norms, resulting in shocking crimes of passion. In a single performance, two distinct yet complementary tales of adultery, jealousy, and revenge explore elemental emotions in true verismo style.

Guy Montavon’s highly theatrical new production transforms the public squares of southern Italy into a revolving mask-filled arena, with eye-catching commedia dell’arte costumes for Leoncavallo’s clowns. As the chorus watches like spectators at a coliseum, the characters cannot escape their tragic fates.

Joyce El-Khoury is Nedda

Pagliacci: Music and Libretto by Ruggero Leoncavallo
Cavalleria rusticana: Music by Pietro Mascagni; Libretto by Giovanni Targioni-Tozzetti and Guido Menasci

Experience twice the drama and twice the thrill with an earthy new production of opera’s classic double bill. Small-town lives are turned upside down when a returning soldier and a vengeful clown upset provincial norms, resulting in shocking crimes of passion. In a single performance, two distinct yet complementary tales of adultery, jealousy, and revenge explore elemental emotions in true verismo style.

Guy Montavon’s highly theatrical new production transforms the public squares of southern Italy into a revolving mask-filled arena, with eye-catching commedia dell’arte costumes for Leoncavallo’s clowns. As the chorus watches like spectators at a coliseum, the characters cannot escape their tragic fates.

Joyce El-Khoury is Nedda

Pagliacci: Music and Libretto by Ruggero Leoncavallo
Cavalleria rusticana: Music by Pietro Mascagni; Libretto by Giovanni Targioni-Tozzetti and Guido Menasci

Experience twice the drama and twice the thrill with an earthy new production of opera’s classic double bill. Small-town lives are turned upside down when a returning soldier and a vengeful clown upset provincial norms, resulting in shocking crimes of passion. In a single performance, two distinct yet complementary tales of adultery, jealousy, and revenge explore elemental emotions in true verismo style.

Guy Montavon’s highly theatrical new production transforms the public squares of southern Italy into a revolving mask-filled arena, with eye-catching commedia dell’arte costumes for Leoncavallo’s clowns. As the chorus watches like spectators at a coliseum, the characters cannot escape their tragic fates.

Joyce El-Khoury is Nedda