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
