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What we hear from the Canadian singer, perfectly at ease with the vocal poetic language of Italian romanticism, deserves more than respect. From her entrance aria to the great final scene immortalized by Callas [ ] Joyce El-Khoury holds herself consistently at the highest level of vocal and musical quality. To her aerial vocalism and her long Bellinian legato lines, she adds here a surprising foundation in the lower register, so often appealed to in this opera. It is a triumph largely deserved she receives at the bows.

– Opera Online, translated from french

Twitter Buzz: Glyndebourne’s La Traviata

Here's the word from the twitter-sphere about Joyce's performances as Violetta in Glynebourne's La traviata: Amazing La Traviata at Glyndebourne yesterday. @JoyceSoprano was incredible. Great end to my 2017 season. Already looking forward to 2018. — Maggie C (@Maggie_C30) August 26, 2017 Birthday

By admin

August 27, 2017

glyndebourne traviata, NEWS, reviews, violetta

glyndebourne, La Traviata, reviews, Violetta

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)

08feb8:00 pmMédéeOpéra Comique / Paris

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Joyce debuts the role of Cherubini’s Médée at the Opéra Comique for her Parisian debut.

The Opéra-Comique invites Laurence Equilbey and Marie- Ève Signeyrole to seize the opportunity of this « dramatic music summit » – dixit Brahms – to create the tragic setting and dialectic for Joyce El-Khoury’s Médée. How does one approach this femme fatale archetype in the twenty-first century? Laurence Equilbey and Marie-Éve Signeyrole certainly honoured her.

Médée thought nothing of sacrificing her family for her beloved Jason. Ascended to the throne of Beotia thanks to her, the venturesome Jason strengthens his power by marrying the daughter of Creon, King of Corinth. Médée unleashes her fury, committing the unthinkable crime of killing their two children.

Based in Paris for the last ten years, Cherubini synthesises comic opera drama and lyric tragedy in one of his most powerful scores. Created at the Théâtre Feydeau, a rival institution the Opéra-Comique would soon absorb, Médée was hailed as a European triumph in view of the composer’s reputation.

The Opéra-Comique invites Laurence Equilbey and Marie- Ève Signeyrole to seize the opportunity of this « dramatic music summit » – dixit Brahms – to create the tragic setting and dialectic for Joyce El-Khoury’s Médée. How does one approach this femme fatale archetype in the twenty-first century?
Laurence Equilbey and Marie-Éve Signeyrole certainly honoured her.

Comic Opera in three Acts. Libretto by François-Benoît Hoffman. Created on 13th March 1797 at the Théâtre Feydeau

Musical direction, Laurence Equilbey • Stage direction, Marie-Ève Signeyrole •

With Joyce El-Khoury, Julien Behr, Edwin Crossley-Mercer, Lila Dufy, Marie-Andrée Bouchard-Lesieur, soloists from the Académie, children from Maîtrise Populaire of the Opéra-Comique • Orchestra, Insula orchestra • Choir, accentus

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(Saturday) 8:00 pm

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10feb8:00 pmMédéeOpéra Comique / Paris

Event Details

Joyce debuts the role of Cherubini’s Médée at the Opéra Comique for her Parisian debut.

The Opéra-Comique invites Laurence Equilbey and Marie- Ève Signeyrole to seize the opportunity of this « dramatic music summit » – dixit Brahms – to create the tragic setting and dialectic for Joyce El-Khoury’s Médée. How does one approach this femme fatale archetype in the twenty-first century?
Laurence Equilbey and Marie-Éve Signeyrole certainly honoured her.

Comic Opera in three Acts. Libretto by François-Benoît Hoffman. Created on 13th March 1797 at the Théâtre Feydeau

Musical direction, Laurence Equilbey • Stage direction, Marie-Ève Signeyrole •

Time

(Monday) 8:00 pm

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12feb8:00 pmMédéeOpéra Comique / Paris

Event Details

Joyce debuts the role of Cherubini’s Médée at the Opéra Comique for her Parisian debut.

The Opéra-Comique invites Laurence Equilbey and Marie- Ève Signeyrole to seize the opportunity of this « dramatic music summit » – dixit Brahms – to create the tragic setting and dialectic for Joyce El-Khoury’s Médée. How does one approach this femme fatale archetype in the twenty-first century?
Laurence Equilbey and Marie-Éve Signeyrole certainly honoured her.

Comic Opera in three Acts. Libretto by François-Benoît Hoffman. Created on 13th March 1797 at the Théâtre Feydeau

Musical direction, Laurence Equilbey • Stage direction, Marie-Ève Signeyrole •

Time

(Wednesday) 8:00 pm

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Twitter Buzz: Glyndebourne’s La Traviata

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Joyce El-Khoury

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