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"After last year's haunting Pelléas et Mélisande at Grimeborn Festival [...] the director Aylin Bozok turned to another French opera [...] Bozok again placed her characters, clothed by Bora Aksu with a touch of 1980s New Romanticism, under penetrating, sometimes merciless scrutiny." Yehuda Shapiro, Opera Magazine


"Of the many opera-on-a-shoestring productions I have seen in recent years, this version of Massenet's romantic tragedy ranks as one of the more stylish and imaginative." Rupert Christiansen, The Telegraph


"One of the many things that I like about Aylin Bozok's directing is that she allows her characters plenty of time, not rushing them with too many spurious movements, giving her productions a pleasing balance of intensely stylised control and natural emotional expression. We begin with this at its most extreme, a ballet of slow movements during the overture, with the characters individually spotlighted in what we later realise is there final horrorstruck tableau [...] With exceptional acting, stunning costumes and strong singing to a simple piano accompaniment, Aylin Bozok's modern and minimalist production of Werther at Grimeborn is breathlessly romantic, and searing in its intensity... Bozok's vision of Werther is accordingly luxurious, plaintive and dark: and, I'd suggest, a must-see." ****4 stars Bachtrack


"And Bozok's account is a revelation. Stylistically her work echoes the Shared Experience school of expressionism, using simple physicality and unflashy visual clues to flesh out the characters' hinterland... Barring one scenic set-piece in the second half, Bozok is content to present the drama unadorned within a bare white box, trusting her aesthetic to prompt the emotional response. By the end of the opera a woman next to me was in floods of tears. I guess she'd painted her own scenery."  *****5 stars Mark Valencia, WhatsOnStage


"This tale of a suicidal lover, so often floaty and dull, is given a makeover of expressionist seriousness by Aylin Bozok... Bozok circumvents this opera's weakness (no real story) by making its psychological tension manifest." The Evening Standard


"The Swiss-Turkish director Aylin Bozok understands Pelléas et Mélisande better than most directors who've tackled its mysteries... the production is rich in its own moments of enigma, which is as it should be... It's a production full of such simple, carefully-considered points of interpretation. " **** 4 stars Whatsonstage (Grimeborn 2013)


“Debussy’s only finished opera is not a simple work but you won’t see it done more persuasively than in Aylin Bozok’s production, which follows the opera’s dreamlike nature and delivers an unreal, minimalist, black-box world where a circle of salt is a pool” **** 4 stars Evening Standard (Pelléas et Mélisande - Grimeborn 2013)


“Arcola Theatre's coproduction with Bury Court Opera, directed by Aylin Bozok, is a masterclass in restrained intensity.” ***** 5 stars OneStopArts (Pelléas et Mélisande - Grimeborn 2013)


It is truly amazing what creativity can achieve with hard work and applied talent. Aylin Bozok’s production of Debussy’s complex work is a triumph of femininity over a preordained order.” **** 4 stars Auditorium (Pelléas et Mélisande - Grimeborn 2013)


“The Grimeborn Festival continues in Hackney, last week offering a model of sensitive direction (Aylin Bozok)” The Independent (Pelléas et Mélisande - Grimeborn 2013)


“the stunning Pelléas et Mélisande... hailed as the best fringe opera in London” The Telegraph (Grimeborn 2013)


"In a minimalist setting she handled the drama naturalistically, drawing detailed performances from the singers” Opera Magazine (Il tabarro - Grimeborn 2012)



“the effect is electric... Aylin Bozok’s production allowed the action to move with sincerity and simplicity” Lark Reviews (Il tabarro - Grimeborn 2012)



“This beautiful performance is intensely powerful and the detail is incredible” West End Wilma (Il tabarro - Grimeborn 2012)






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