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OperaWire: Joyce El-Khoury Headlines Drive-In ‘Tosca’

The Phoenicia International Festival of the Voice has announced that this year’s live opera staging, typically the

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NEWS, Phoenincia Festival, Tosca

puccini

Joyce El-Khoury, who gives her role a stirring intensity, is particularly convincing as Iphigénie. Her dramatic aria is a triumph. The sadness and abandonment of this role is very poignantly expressed in the sensitive rendering of the Lebanese-Canadian soprano Joyce El-Khoury. She carries an impressive vocal line.

– Online Merker

Joyce to debut Iphigénie with Staatsoper Stuttgart

A last minute cast-change at Staatsoper Stuttgart will result in Joyce's role debut as Iphigénie. This

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December 13, 2019

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Gluck, Iphigenie, NEWS, staatsoper stuttgart

Joyce opening the concert hall at the O2 universum in Prague

[vc_row enable_hue_rotation="no" use_row_as_full_screen_section="no"][vc_column][vc_column_text]As Joyce preprares to take the stage tonight to open Prague's concert hall at the

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November 12, 2019

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NEWS, Prague philharmonia

Prague philharmonia

Joyce on performing in Robert Wilson’s production of COC’s Turandot

[vc_row enable_hue_rotation="no" use_row_as_full_screen_section="no"][vc_column][vc_column_text]Robert Wilson's Turandot is now running at the Canadian Opera Company. Joyce sat down to

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October 1, 2019

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canadian opera company, NEWS, Puccini, Turandot

Canadian Opera Company’s Eugene Onegin garners 5 Dora Awards

The Canadian Opera Company's Eugene Onegin production garnered 5 Dora Awards last night. The production starred Joyce

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canadian opera company, Eugene Onegin, NEWS, Tchaikovsky

canadian opera company

Joyce to receive inaugural Angela Hewitt Distinguished Alumni Award at uOttawa

"Celebrated soprano Joyce El-Khoury (BMus 2005) has been selected as the inaugural recipient of the Angela Hewitt

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awards, Ottawa, uOttawa

Habillée d’une "petite robe noire", Joyce El-Khoury enchante visiblement le public par son élégance, la beauté et la grandeur de sa voix, mais aussi pour ses qualités techniques et interprétatives rares. La soprano place chaque note, exprime chaque moment, invite le public à se faire protagoniste -par son visage expressif- dans chaque histoire racontée.

– Ôlyrix

Joyce El-Khoury est une très grande chanteuse à l’immense potentiel dramatique, et ce n’est plus à prouver. Elle tient à travers les maisons d’opéra du monde entier les rôles du grand répertoire avec brio et un succès sans cesse croissant. Mais elle démontre qu’elle est également parfaitement à son aise dans le genre périlleux du récital avec piano, qui met le chanteur à nu et ne tolère aucune faiblesse.

– AgendaCulturel.fr

Ces notes hautes tracées d’une pointe longue et fine sont la marque de fabrique de Joyce El-Khoury. Peu savent comme elle alléger le son jusqu’à l’impalpable.

– Forumopera.com

It was Joyce El-Khoury, however, in the role of Queen Elisabetta, who produced the standout performance of the evening. She gave an emotionally intense portrayal, her acting commanding attention throughout. However, it was her vocal brilliance which really impressed. Her ability to integrate her singing into the emotional state of the character was impressive with every word, every phrase carefully matched to the dramatic situation. Her vocal lines were crafted with such detail, and contained the subtlest of accents and dynamic variations, the type of which is able to turn a strong performance into a great one, and elevate a singer above the rest of the cast. Her quality, of course, is founded upon her strong technique and interpretative intelligence, but she also possesses a voice which has an innate beauty, which she is able to burnish with a variety of colors.

– OperaWire

standing head and shoulders vocally above all the cast was the singing, and acting, of Joyce El-Khoury as Elisabeth. Her acting of the role was good whilst her singing was simply terrific. It is worth a journey to just see and hear her in this role. I am certain the best operatic addresses are already noting her development.

– Seen and Heard

The performance from Joyce El-Khoury was astonishing....Here as Elisabetta she was a positive spitfire. The voice still flowing stylishly around the busy passagework and fearsome coloratura, but added to it was a real steeliness and intensity of tone. This sense of vivid vocal acting was combined with strong visuals so that in Act One she really did establish this Queen as a dominant character, fearsome yet needy, bravura yet intense, both musically and visually stimulating. Through the opera we get a real sense of Elisabetta the person behind the mask, the woman manipulating the spider. And this unfolded brilliantly in the final scene where, now bald, El-Khoury steps down from the spider machine as she abandons all hope, and finally abandons life.

– Planet Hugill

El-Khoury delivers a heart-stopping, bravura performance, all the more intense for the paradoxically exquisite bel canto and jaunty melodies through which Donizetti paints his tragedy.

– The Stage

The role of Elisabetta is a notoriously difficult part for even the most seasoned of sopranos. In the hands of Joyce El-Khoury it appears both effortless and truly dazzling. Her commitment to the role is total, at points even exhausting in its emotional intensity, and her fluent coloratura and masterful control are joyous. In an otherwise strong libretto by Salvadore Cammerano, Elisabetta is – oddly – drawn rather thinly, appearing as a two-dimensional spurned lover on the page. On the stage, however, El-Khoury gives her depth and a very human sense of vulnerability. Her final aria, “Vivi, in grato, a lei accanto” delivered upon her throne as her mental and physical capacities weaken, provides a counterpoint to the anguished, vengeful queen that dominates the majority of the opera. The moment in it the where El-Khoury drops to an almost imperceptible pianissimo after two hours of muscular bel canto is one of aching fragility that elevates Elisabetta from mere cliche.

– BachTrack

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