The Lebanese/Canadian soprano Joyce El-Khoury elegantly embodied the title role of Tosca. Clad in Pier Luciano Cavallotti’s sophisticated dresses, El-Khoury’s Tosca was visually arresting, her artistic temperament, fidelity, uncontrollable passion and total despair seamlessly exhibited as the drama proceeded. – Opera Today
Joyce El-Khoury, in the role of Tosca, played the role with elegance, a rich voice, and an intelligent and dramatic interpretation – Ópera Actual
El-Khoury possesses the ideal voice for the soprano part in Verdi’s Requiem: a beautiful and distinct timbre, easily capable of communicating emotions, supple and able to soar into the stratosphere. – Concertonet.com
The opera is dominated by low-voiced men, counterbalanced by the soft-voiced innocence of Amelia, the only woman in the opera. The sensuous Joyce El-Khoury sang the role of the orphan girl Amelia with great beauty, delicately phrased and, despite her hard fate, glowing with nobility. – KU.fi
The only female role of the male-dominated Simon Boccanegra, is Amelia...Joyce El-Khoury charmed in the role with her heavenly soft melodies. – SUOMEN KUVALEHTI
Soprano Joyce El-Khoury is very good at giving voice to Amelia/Maria. Of Lebanese-Canadian origin she made us discover a soprano who has a mature and beautiful voice, also giving us perfect diction. Very careful in the emission of sounds, perfect in the vocal passages and in the scenic parts. – Operateatro.it
Soprano Joyce El-Khoury [Amelia/Maria] stands out in Pierre Audi’s production of Simon Boccanegra…her high piano notes as the Doge's daughter were a delight to listen to. – Helsingin Sonomat
Joyce El-Khoury delivers an athletic performance as Christine of Sweden [La Reine-Garçon], torn between duty and love…The final "Libérez-moi!" sung at full volume, kneeling on stage, was enough to send shivers down the spine. – Ludwig-van.com
Vocally speaking, the Opera couldn't have chosen a better cast of singers…El-Khoury was convincing and moving in her interpretation of Queen Christine of Sweden [La Reine-Garçon]. Her voice, rich in color and nuance, was able to adapt to the different arias (and mood swings) of this complex character, making us feel the dilemmas she faces. – The Montrealista
Lebanese-Canadian Joyce El‑Khoury was an incandescent Elisabetta, an introverted role that requires total immersion in the character to be effective. The role of Elisabetta can be overshadowed if the soprano doesn’t have the necessary charisma, and there are very few sopranos that can convey the complexity of the character. This is a French Princess, initially engaged and attracted to the young Crown Prince Carlos, who ends up marrying his father Philip II. In the original five‑act version, we witness the courtship of Carlos and Elisabetta, as well as her acquiescence to marry his father to ensure a peace treaty between France and Spain. Elisabetta is no plebeian; she is a woman of rank compelled to master her feelings no matter how burdensome. This patrician character can often make Elisabetta seem cold. El‑Khoury manages to espouse this noble demeanor while maintaining her humanity–no mean feat. Though a lyric soprano, El‑Khoury has ample vocal means and abundant musicianship to excel in this lirico spinto role. The Act II aria, “Non pianger, mia compagna” was effective, and her phrasing superlative. Her final act aria, “Tu che le vanità,” was the vocal highpoint of the evening. – Concertonet.com
