AJDE TEST

Joyce returns to one of her signature roles, Puccini’s Tosca with the National Arts Center Orchestra in Ottawa, Canada. More information from the presenter below! Tickets can be purchased here.

“A tale of art, politics, and dangerous romance set in early 19th-century Rome, Giacomo Puccini’s Tosca has left audiences swooning since its premiere 125 years ago. At the center of the opera is Floria Tosca—the prima donna of Rome, who risks her own life to save her rebellious lover Mario Cavaradossi from persecution by the corrupt chief of police, Baron Scarpia. Will she pledge her love to Scarpia to save Cavaradossi from the firing squad, or will she do whatever it takes to save both of their lives?

Experience an evening of intense drama and heartbreaking melodies when Tosca takes over Southam Hall in a semi-staged production led by conductor Alexander Shelley and director Joel Ivany. Soprano Joyce El-Khoury—who “elegantly embodies the title role of Tosca” (Opera News)—leads an all-Canadian cast of singers featuring tenor Matthew Cairns as Cavaradossi, bass-baritone Nathan Berg as Scarpia, and members of Edmonton Opera’s Emerging Artist Program.”

Joyce returns to one of her signature roles, Puccini’s Tosca with the National Arts Center Orchestra in Ottawa, Canada. More information from the presenter below! Tickets can be purchased here.

“A tale of art, politics, and dangerous romance set in early 19th-century Rome, Giacomo Puccini’s Tosca has left audiences swooning since its premiere 125 years ago. At the center of the opera is Floria Tosca—the prima donna of Rome, who risks her own life to save her rebellious lover Mario Cavaradossi from persecution by the corrupt chief of police, Baron Scarpia. Will she pledge her love to Scarpia to save Cavaradossi from the firing squad, or will she do whatever it takes to save both of their lives?

Experience an evening of intense drama and heartbreaking melodies when Tosca takes over Southam Hall in a semi-staged production led by conductor Alexander Shelley and director Joel Ivany. Soprano Joyce El-Khoury—who “elegantly embodies the title role of Tosca” (Opera News)—leads an all-Canadian cast of singers featuring tenor Matthew Cairns as Cavaradossi, bass-baritone Nathan Berg as Scarpia, and members of Edmonton Opera’s Emerging Artist Program.”

Joyce returns Barcelona for concert performances of Berlioz’s La mort de Cléopâtre and Beethoven’s 9th symphony. Information from the presenter is below and tickets can be purchased here.

“A season opening with what is possibly the greatest milestone ever reached by an author: Beethoven’s Symphony No 9stands out for its incredibly original proposal, which could even be classed as ground-breaking in its original context, with a romantic character that calls upon human beings of all times, united fraternally in the same yearning to celebrate. A specific, immanent feeling of belonging, yet which -as the Orfeó Català will sing in the closing movement, guided by the divine spark that is Schiller’s ode to joy (Freude)- elevates all humans and makes them equal, and transcends their respective singularities.

Ludovic Morlot, chief conductor of the OBC, will head a quartet of soloists formed by Joyce El-Khoury, soprano; Silvia Tro Santafé, mezzo-soprano; Elgan Llyr Thomas, tenor, and Davone Tines, bass. The Lebanese-Canadian soprano is also to take part in the performance of the lyric scene La mort de Cléopâtre, in a concert that will begin with the overture in three tempos (symphony) from the opera Sesostri, re d’Egitto, a work by Domènec Terradellas. Completed in 1751, it was successfully performed for the first time in Rome and, three years later, in Barcelona, his home city. It was the first opera by a Catalan composer to be programmed in Catalonia.”

Joyce returns Barcelona for concert performances of Berlioz’s La mort de Cléopâtre and Beethoven’s 9th symphony. Information from the presenter is below and tickets can be purchased here.

“A season opening with what is possibly the greatest milestone ever reached by an author: Beethoven’s Symphony No 9stands out for its incredibly original proposal, which could even be classed as ground-breaking in its original context, with a romantic character that calls upon human beings of all times, united fraternally in the same yearning to celebrate. A specific, immanent feeling of belonging, yet which -as the Orfeó Català will sing in the closing movement, guided by the divine spark that is Schiller’s ode to joy (Freude)- elevates all humans and makes them equal, and transcends their respective singularities.

Ludovic Morlot, chief conductor of the OBC, will head a quartet of soloists formed by Joyce El-Khoury, soprano; Silvia Tro Santafé, mezzo-soprano; Elgan Llyr Thomas, tenor, and Davone Tines, bass. The Lebanese-Canadian soprano is also to take part in the performance of the lyric scene La mort de Cléopâtre, in a concert that will begin with the overture in three tempos (symphony) from the opera Sesostri, re d’Egitto, a work by Domènec Terradellas. Completed in 1751, it was successfully performed for the first time in Rome and, three years later, in Barcelona, his home city. It was the first opera by a Catalan composer to be programmed in Catalonia.”

Joyce debuts the role Blanche de la Force in Poulenc’s masterpiece, Dialogues des carmélites.

Click here for ticket and production information.

Dallas Opera: “Time travel to 1794 Paris, where France’s Reign of Terror is raging. A frightened young aristocrat enters a convent, desperate to find peace from religious persecution. But as the Mother Superior warns, she has entered a house of prayer, not an escape from reality. Based on a real-life incident, 16 Carmelite nuns-each with her own private demons-must decide if they will live in fear or die together in faith as martyrs on the guillotine.”

Joyce El-Khoury captures all hearts with “radiant authority” (THE INDEPENDENT) as Sister Blanche; “Uncommonly enchanting” mezzo Stéphanie D’Oustrac (JERUSALEM POST) is Mother Marie; Leah Hawkins, the Metropolitan Opera’s 2024 Beverly Sills Artist, is the new Prioress; and the remarkable Patricia Racette gives “a masterclass in characterization” (HOUSTON PRESS) as the old Prioress.

Joyce debuts the role Blanche de la Force in Poulenc’s masterpiece, Dialogues des carmélites.

Click here for ticket and production information.

Dallas Opera: “Time travel to 1794 Paris, where France’s Reign of Terror is raging. A frightened young aristocrat enters a convent, desperate to find peace from religious persecution. But as the Mother Superior warns, she has entered a house of prayer, not an escape from reality. Based on a real-life incident, 16 Carmelite nuns-each with her own private demons-must decide if they will live in fear or die together in faith as martyrs on the guillotine.”

Joyce El-Khoury captures all hearts with “radiant authority” (THE INDEPENDENT) as Sister Blanche; “Uncommonly enchanting” mezzo Stéphanie D’Oustrac (JERUSALEM POST) is Mother Marie; Leah Hawkins, the Metropolitan Opera’s 2024 Beverly Sills Artist, is the new Prioress; and the remarkable Patricia Racette gives “a masterclass in characterization” (HOUSTON PRESS) as the old Prioress.

Joyce debuts the role Blanche de la Force in Poulenc’s masterpiece, Dialogues des carmélites.

Click here for ticket and production information.

Dallas Opera: “Time travel to 1794 Paris, where France’s Reign of Terror is raging. A frightened young aristocrat enters a convent, desperate to find peace from religious persecution. But as the Mother Superior warns, she has entered a house of prayer, not an escape from reality. Based on a real-life incident, 16 Carmelite nuns-each with her own private demons-must decide if they will live in fear or die together in faith as martyrs on the guillotine.”

Joyce El-Khoury captures all hearts with “radiant authority” (THE INDEPENDENT) as Sister Blanche; “Uncommonly enchanting” mezzo Stéphanie D’Oustrac (JERUSALEM POST) is Mother Marie; Leah Hawkins, the Metropolitan Opera’s 2024 Beverly Sills Artist, is the new Prioress; and the remarkable Patricia Racette gives “a masterclass in characterization” (HOUSTON PRESS) as the old Prioress.

Joyce debuts the role Blanche de la Force in Poulenc’s masterpiece, Dialogues des carmélites.

Click here for ticket and production information.

Dallas Opera: “Time travel to 1794 Paris, where France’s Reign of Terror is raging. A frightened young aristocrat enters a convent, desperate to find peace from religious persecution. But as the Mother Superior warns, she has entered a house of prayer, not an escape from reality. Based on a real-life incident, 16 Carmelite nuns-each with her own private demons-must decide if they will live in fear or die together in faith as martyrs on the guillotine.”

Joyce El-Khoury captures all hearts with “radiant authority” (THE INDEPENDENT) as Sister Blanche; “Uncommonly enchanting” mezzo Stéphanie D’Oustrac (JERUSALEM POST) is Mother Marie; Leah Hawkins, the Metropolitan Opera’s 2024 Beverly Sills Artist, is the new Prioress; and the remarkable Patricia Racette gives “a masterclass in characterization” (HOUSTON PRESS) as the old Prioress.

Joyce debuts the role Lina in Giuseppe Verdi’s Stiffelio, adding to her vast experience in the Verdian repertoire.

Click here for ticket and production information.

Theater an der Wien: “After returning from a trip, Stiffelio discovers that his wife Lina has cheated on him with the nobleman Raffaele. His immediate impulse is to avenge the deed, but as pastor of a Protestant Baptist congregation, he must justify any decision not only to himself, but also to God and to the people whose role models he is supposed to be, and gets into a deep conflict. Composed immediately before his “Trilogia popolare”, Giuseppe Verdi, with Stiffelio, places such an ambivalent anti-hero at the center of the events that both the censorship authority and the audience were initially overwhelmed by the work premiered in 1850. Also in the 21st. With his partly changed canon of values, Stiffelio’s tornness between what he wants to be and what he must be remains of challenging topicality. As director, Vasily Barkhatov returns to the MusikTheater an der Wien after his interpretations of Der Idiot and Norma, while the conductor Jérémie Rhorer continues his exploration of the undeveloped repertoire of Romanticism after Les Martyrs.”

Joyce debuts the role Lina in Giuseppe Verdi’s Stiffelio, adding to her vast experience in the Verdian repertoire.

Click here for ticket and production information.

Theater an der Wien: “After returning from a trip, Stiffelio discovers that his wife Lina has cheated on him with the nobleman Raffaele. His immediate impulse is to avenge the deed, but as pastor of a Protestant Baptist congregation, he must justify any decision not only to himself, but also to God and to the people whose role models he is supposed to be, and gets into a deep conflict. Composed immediately before his “Trilogia popolare”, Giuseppe Verdi, with Stiffelio, places such an ambivalent anti-hero at the center of the events that both the censorship authority and the audience were initially overwhelmed by the work premiered in 1850. Also in the 21st. With his partly changed canon of values, Stiffelio’s tornness between what he wants to be and what he must be remains of challenging topicality. As director, Vasily Barkhatov returns to the MusikTheater an der Wien after his interpretations of Der Idiot and Norma, while the conductor Jérémie Rhorer continues his exploration of the undeveloped repertoire of Romanticism after Les Martyrs.”

Joyce debuts the role Lina in Giuseppe Verdi’s Stiffelio, adding to her vast experience in the Verdian repertoire.

Click here for ticket and production information.

Theater an der Wien: “After returning from a trip, Stiffelio discovers that his wife Lina has cheated on him with the nobleman Raffaele. His immediate impulse is to avenge the deed, but as pastor of a Protestant Baptist congregation, he must justify any decision not only to himself, but also to God and to the people whose role models he is supposed to be, and gets into a deep conflict. Composed immediately before his “Trilogia popolare”, Giuseppe Verdi, with Stiffelio, places such an ambivalent anti-hero at the center of the events that both the censorship authority and the audience were initially overwhelmed by the work premiered in 1850. Also in the 21st. With his partly changed canon of values, Stiffelio’s tornness between what he wants to be and what he must be remains of challenging topicality. As director, Vasily Barkhatov returns to the MusikTheater an der Wien after his interpretations of Der Idiot and Norma, while the conductor Jérémie Rhorer continues his exploration of the undeveloped repertoire of Romanticism after Les Martyrs.”

Joyce debuts the role Lina in Giuseppe Verdi’s Stiffelio, adding to her vast experience in the Verdian repertoire.

Click here for ticket and production information.

Theater an der Wien: “After returning from a trip, Stiffelio discovers that his wife Lina has cheated on him with the nobleman Raffaele. His immediate impulse is to avenge the deed, but as pastor of a Protestant Baptist congregation, he must justify any decision not only to himself, but also to God and to the people whose role models he is supposed to be, and gets into a deep conflict. Composed immediately before his “Trilogia popolare”, Giuseppe Verdi, with Stiffelio, places such an ambivalent anti-hero at the center of the events that both the censorship authority and the audience were initially overwhelmed by the work premiered in 1850. Also in the 21st. With his partly changed canon of values, Stiffelio’s tornness between what he wants to be and what he must be remains of challenging topicality. As director, Vasily Barkhatov returns to the MusikTheater an der Wien after his interpretations of Der Idiot and Norma, while the conductor Jérémie Rhorer continues his exploration of the undeveloped repertoire of Romanticism after Les Martyrs.”

Joyce debuts the role Lina in Giuseppe Verdi’s Stiffelio, adding to her vast experience in the Verdian repertoire.

Click here for ticket and production information.

Theater an der Wien: “After returning from a trip, Stiffelio discovers that his wife Lina has cheated on him with the nobleman Raffaele. His immediate impulse is to avenge the deed, but as pastor of a Protestant Baptist congregation, he must justify any decision not only to himself, but also to God and to the people whose role models he is supposed to be, and gets into a deep conflict. Composed immediately before his “Trilogia popolare”, Giuseppe Verdi, with Stiffelio, places such an ambivalent anti-hero at the center of the events that both the censorship authority and the audience were initially overwhelmed by the work premiered in 1850. Also in the 21st. With his partly changed canon of values, Stiffelio’s tornness between what he wants to be and what he must be remains of challenging topicality. As director, Vasily Barkhatov returns to the MusikTheater an der Wien after his interpretations of Der Idiot and Norma, while the conductor Jérémie Rhorer continues his exploration of the undeveloped repertoire of Romanticism after Les Martyrs.”