"Howard's is a voice of undeniable poise and power"

The Arts Desk

"at once sensuous and austere"

BBC Music Magazine

"a composer who prefers to think in terms of synapses rather than sonata form"

The Guardian

"... (Howard's) work to date – characterised by ... above all, an insight into the human condition – suggests a level of sophistication well beyond her years."

The Financial Times

"a force to be reckoned with"

The Telegraph

To See The Invisible - Chamber Opera in one act.
An Aldeburgh Festival commission and world premiere / June 2018

"eclectic; avant-garde and spectral … plenty to chew over and to raise hopes for Howard’s future work"

★★★★ - The Times, Richard Morrison

"Pastel-perfect hell … Howard confidently and consistently makes her music run hot and cold, and it’s a discomforting, intriguing listen … ambitious, experimental, and leaving us plenty to ponder."

★★★★ - bachtrach, Charlotte Valori

"The best of the opera comes whenever Howard’s music ventures into new and strange territory, as she explores Silverberg’s unnervingly dislocated world … it gets under the skin – a step into the future in Aldeburgh’s venerable tradition"

★★★★ - The Financial Times, Richard Fairman

"Howard’s menacing use of percussion and grainy-textured instrumental writing, variously monochrome and lush, capture the atmosphere. Her evocative score embraces other composers: a lute song by John Dowland, sung in a brothel scene in which pleasure and pain are played out with clinical horror, and the opening of the trio Soave il Vento, from Mozart’s Così fan Tutte. In Howard’s reworking, it shifts to a noodling, candy-sweet marimba-dominated melody, representing a world of “warmth”. Cacti thrive and a couple indulge themselves in “bagels, cookies, muffins and cupcakes, lemon and poppy seed, toffee and blueberry or double choc-chip”. Try singing that."

★★★★ - The Observer, Fiona Maddocks

"Oddly compelling … Howard’s idiom has a cool confidence and clarity of its own"

The Telegraph, Rupert Christiansen

"Emily Howard’s imaginative score ensures that this zeitgeist work is entirely her own"

Opera Now, Claire Jackson

"Silverberg’s concept of a time when any emotion is outlawed was brought to vivid musical life … it has a Kafkaesque spookiness about it and should travel well if taken up elsewhere."

Musical America, Keith Clarke

World Premiere of Torus (Concerto for Orchestra) / BBC Proms 2016

Royal Liverpool Philharmonic Orchestra / cond. Vasily Petrenko

"one of this year’s finest new works"

The Guardian Critics' Highlights Proms 2016

"Visionary … [a] ringing confirmation of Howard's maturing gifts."

★★★★ - The Times

"Listening to [Torus], what was immediately apparent was Howard’s easy command of large-scale orchestral writing … genuinely rewarding."

★★★★ - The Guardian

"An accomplished and absorbing new work by a composer who is keen to hear the overall shape of the piece rather than become distracted by surface detail. This is a philosophy I like … Torus uses an extraordinary array of musical techniques to create startling effects and meditative passages."

★★★★ - www.bachtrack.com

NMC Debut Disc Emily Howard 'Magnetite' / NMC Recordings D219

RLPO / Andrew Gourlay /Alexandra Dariescu / Elias String Quartet / scapegoat / Lucy Goddard / Simon Whiteley

"Magnetite [is] a sumptuous, powerful piece … an engaging introduction to Howard’s music, expertly played"

★★★★ - The Observer

"A confident, major orchestral debut … Scientific ideas brilliantly articulated in a score whose shimmering colours and essentially tonal trajectory are easily assimilated"

BBC Record Review

Mesmerism: Making Music British Composer Award 2012

"In this piece the composer stretches the ability of amateur musicians without over-taxing them: the thoroughly imaginative contemporary sound-world is for once eminently realisable by non-professionals. The harmonic language of the music is lucid and beautiful, sustaining at the heart of the piece a great sense of stillness. This is an original voice."

BASCA Judges, Making Music British Composer Award 2012

UK Premiere of Calculus of the Nervous System / BBC Proms 2012

City of Birmingham Symphony Orchestra / cond. Andris Nelsons

"This was a piece that really made you listen, and drew you in, and its 15 minutes seemed to pass in an instant. Whether intentionally or not, the quietness also focused attention onto the noises of the typically restless Proms audience, with moments that were so quietly enrapturing that none of the audience's vast number dared so much as breathe."

Matthew Lynch, www.bachtrack.com

"... profoundly atmospheric, where something always seemed about to happen. It started and ended in near silence, except that the real impression was that the music continued for ever ... a fascinating and tantalising piece; one which was superbly rendered by Nelsons and the CBSO."

Robert Hugill, Planet Hugill

World Premiere of Calculus of the Nervous System at Wien Modern Festival 2011

ORF Radio Symphony Orchestra Vienna / cond. James MacMillan / Wiener Konzerthaus, Vienna, Austria

"...Calculus presented an absorbing mix of stealth, suggestion and surprise – its tremulous opening punctuated by silences like a sequence of abortive starts, and its final measures sounding like a sequence of abortive endings, but engineered (which I think is the right word here) with winning confidence and craft. I was impressed."

Michael White, The Telegraph

"A work which because of its incredible memorability will be instantly recognizable on a second hearing."

Michaela Preiner (translation from German by Andrea Rauter) www.european-cultural-news.com

World Premiere of Solar

London Symphony Orchestra / cond. Nicholas Collon / Barbican Hall, London, UK

"Solar … manages to suggest galactic power on a compact scale and sets a trajectory of inexorable slow movement that took it convincingly in a single revolution to the final bar."

Richard Fairman, The Financial Times

"... compelling sonorities, and high-density harmonies, well constructed and strongly imagined."

Jessica Duchen, Standpoint

"Howard showed herself to be more than just a good orchestrator of blazing images, conjuring up tension and a sense of magnetic pull."

John Allison, The Sunday Telegraph

"a sure touch with orchestral textures"

Andrew Clements, The Guardian

"... the ensuing slow-burn crescendo seemed tragic in its implications, a dense, barbed wall of sound ... Solar seems to despair for mankind while also being inspiring as music."

Colin Anderson, Classical Source

World Premiere of Zátopek! / New Music 20x12 / London Cultural Olympiad

The Epstein Theatre, Liverpool / The Southbank Centre, London, UK

"A tremendous opera"

The Review Show, BBC 2

"Emily Howard's short opera is, like its subject, almost insanely ambitious."

★★★★ - The Guardian

"Howard's mini-opera Zátopek! seethes with invention"

BBC Music Magazine

"As unreservedly entertaining as the man it pays tribute to"

The Liverpool Echo

"Zátopek! "highlight of the year ahead"

Tom Service's Classical Picks 2012 The Guardian