Joyce El-Khoury

Joyce El-Khoury


Vocalists — Soprano

"On Saturday night, El-Khoury scored a triumph in the title role, combining an exquisite delicacy of sound with affecting vulnerability — yet producing plenty of steel in the confrontation scene in which she denounces Elizabeth as a 'vil bastarda.' On Sunday, few in the house realized that El-Khoury had just sung this taxing role the previous evening — and you couldn’t tell it from her Sunday performance, either. Skillfully saving her voice when she could, singing full-out when it counted, El-Khoury rallied for a remarkable show and a final mighty effort, a brave high D. Brava!" —The Seattle Times

"Joyce El-Khoury’s bravura performance is truly one for the ages. In her OTSL debut, she conquered the demands of the role with remarkable stamina and heartfelt vocal prowess. She was both tender and tough as Emmeline Mosher, starting out as a demure, dutiful 14-year-old girl forced to work in a textile mill to support her family, then because of an unfortunate out-of-wedlock pregnancy, she gives the baby up. Her life is altered forever." —Belleville News-Democrat

"The role of Pauline varied between dramatic declamation and ravishingly elaborated coloratura; it seemed as if Pauline’s response to stress was to break out in roulades. El-Khoury not only sang these beautifully, but used her lovely smoky voice to give dramatic weight to Pauline’s more vehement moments... El-Khoury brought dramatic commitment as well as technical poise to create a highly sympathetic and ravishing performance." —Opera Today

"El-Khoury’s formidable arsenal of accomplishments, blazing top C’s, effortlessly despatched coloratura, gossamer-fine pianissimos, inform the singer’s portrayal of divided love, loyalty and courageous resolve." —South African Mercury

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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Of Joyce El-Khoury’s performance in the title role of Donizetti’s Maria Stuarda at the Seattle Opera, The Seattle Times wrote: “On Saturday night, El-Khoury scored a triumph in the title role, combining an exquisite delicacy of sound with affecting vulnerability – yet producing plenty of steel in the confrontation scene in which she denounces Elizabeth...” In the 2016-2017 season, Ms. El-Khoury makes several major debuts: first in London at the Royal Opera House, Covent Garden as Violetta in La traviata; at the Glyndebourne Festival . . .

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    • Photo Credit: Fay Fox
      Photo Credit: Fay Fox
    • Photo Credit: Fay Fox
      Photo Credit: Fay Fox
    • Photo Credit: Fay Fox
      Photo Credit: Fay Fox
    • Photo Credit: Fay Fox
      Photo Credit: Fay Fox
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      Photo Credit: Fay Fox
    • Photo credit: Hans van den Bogaard2
      Photo credit: Hans van den Bogaard2
    • Photo credit: Hans van den Bogaard3
      Photo credit: Hans van den Bogaard3
    • Photo credit: Hans van den Bogaard4
      Photo credit: Hans van den Bogaard4
    • Photo credit: Hans van den Bogaard5
      Photo credit: Hans van den Bogaard5
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      Hobermann 1
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