El-Khoury takes great risks in employing a wide range of vocal colours, from wine dark chest notes to the most feathery of pianissimos. The attack on the coloratura in “Sempre libera” was aggressive and hedonistic, her cry of “È tardi!” when she reads Germont’s letter in Act 3 full of anger. Here was a Violetta who refused to “go gentle into that good night” without a struggle.

– Bachtrack