from the Shubbak Festival/Royal Opera House work-in-progress performance in July 2017

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 Graham 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, Musical Web

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 Wilkely, Classical Music Magazine

LSO On Track (2019): world premiere of 'Tuqus' cond. Sir Simon Rattle, (Photo credit: David Parry)

Photo Credit: Ben Mcdonnel

Photo Credit: Ben Mcdonnel

Photo credit: Ben McDonnell