'the six-minute wonder that is Bushra El-Turk’s Crème Brûlée on a Tree is an unexpected little thriller that flies past using every possible sonority... the piece felt not only idiosyncratic but also – a serious rarity – properly witty.'
- David Benedict, The Arts Desk
'Performed with wit and physicality by Giunta and Sikich, the piece (Crème Brûlée on a Tree) was perfectly balanced between challenging and entertaining its audience, and based on the raucous laughter and applause seems destined to become a hit.'
- Kevin W Ng, Bachtrack
'an arresting new piece of music theatre' on Woman at Point Zero Opera excerpts.
- Bill Barclay, The Guardian
'Tmesis is really fascinating. It’s kind of deceptive at the start...kind of nervous frantic repeated notes fluttering and fanning outwards into space, but then before we know it we’re into the world of her Lebanese heritage with a great big Arabic song moving through the orchestra and then we’ve got electronic dance like beats and it ends with a beautiful closing section with rocking string music over a drone.'
-Gillian Moore, BBC Radio 3 Record Review
A new name to me, this GuildhallSMD graduate has an impressive CV and I shall be looking out for more examples of her "ironic and allegorical musical vocabulary"....An arresting piece which should be widely taken up by 21st C flautists. Marionette heralded a great hour of music making.
- Peter Grahame Woolf, Musical Pointers
...a dramatic work which makes full use of the flute’s arsenal of sounds, including the voice of the flute player, heard shouting the three Lebanese words for ‘no’ (reminiscent of Takemitsu’s Voice in this respect). This short and exciting work was well-conceived and highly convincing in performance and looks set to be an accepted part of twenty-first century flute repertoire.
- Carla Rees, MusicWeb
'...Eating Clouds was indeed a work that showed limitless imagination'
- Alan Cooper, Aberdeen University Press
‘One live-wire firecracker of a composer’
- Julie, Groves, The British Flute Society
‘her structure of freely-shuffled fragments, coalescing into quasi-Byzantine chant before dissonantly climaxing, allowing her to incorporate harmony from Das Lied von Der Erde and to salute multi-culturalism of Mahler’s use of Chinese poetry.’
- Paul Driver, The Sunday Times
‘Listen to the music of Bushra El-Turk and the impression you get is that of someone who enjoys their music with a wry smile. Her compositions cover a wide range of emotions, to be sure, but in many of them a quirky turn here, or an unexpectedly outrageous moment.’
- Jonathan Wikely, Classical Music Magazine
‘...That was not all that was special about the concert, though. Bushra El-Turk’s Mosaic had original (and rewarding) writing for the wind instruments and a haunting and atmospheric lament for its muted strings...’
- Robert Beale, City Life
‘“Silk Moth" was the most significant debut overheard by this jouranalist in 2015....Bushra El-Turk’s opera is at once aesthetically intelligent and culturally engaged...“Silk Moth" is a well-wrought piece of composition, powerfully performed.’
- Jim Quilty, Daily Star, Beirut