Page 3 – Joyce El-Khoury

Best of all, however, was Lebanese-Canadian soprano Joyce El-Khoury as Violetta. The role needs someone beautiful, with a sensational voice, slim build (so that the tuberculosis looks believable) and great acting skills, especially in the final despairing act and El-Khoury had all of those in abundance. I had seen her in the same role at the Royal Opera House earlier this year and was stunned by her performance. At Glyndebourne, it was even better with the deceptive simplicity of the sets accentuating the effectiveness and glory of her performance. Glyndebourne always tries hard to bring something special to its productions without ever overdoing it. In May, I had thought their La Traviata was as close to perfection as one could hope for. This time I thought it was, if anything, even better."

– Daily Express (UK)

Joyce El-Khoury as Liu was outstanding. Her voice, fresh and lovely, also touched the heart with its plangent tones.

– Phindie

“The show’s scene-stealer is Joyce El-Khoury as the calculating soprano Tatyana Bakst”

The reviews are coming in for San Diego Opera's Great Scott (Jake Heggie). Here are quotes highlighting Joyce's performance

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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

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