'…It was sheer enthusiastic music, which thrilled everyone without the need to ask any questions whatsoever about authenticity or style. I can listen to music played like that all day long. It was swinging, singing, brilliant and musical…'

FLUTE Discussion Group on the Internet (April 2000)

'…Boustany is a riveting player. His incredible control of tempo and dynamics coupled with his acting out of the music, mesmerized the audience…'

The Independent, North Carolina, USA (August 1999)

'...He plays from the heart to the heart and rapturous applause bore testimony to the fact…'

The Evening Mail, Lake District (March 1999)

'…The best thing about Wissam Boustany's playing is that he is not preoccupied with being a flute player. He uses his flute to break down and transcend the barriers of music notation and always aims to communicate his vision of the music he plays to the audience…'

Pan Magazine, British Flute Society (December 1998)

'...Wissam Boustany plays the flute like a singer uses his voice. The expression radiates outwards from within, leaving the audience hypnotised by the sheer charisma and energy of his playing...'

Arts Focus, Aberdeen, Scotland (November 1997)

'...He is a consummate showman with an impressive command of his instrument; his love of life shines through everything he does. His playing is not simply technically dazzling, every note comes from the heart and speaks to the heart. It is not often that one finds a world-class musician and a world-class humanitarian combined in the same person; it was a delight and a privilege to be present at his recital...'

Times Colonist, Victoria, Canada (July 1996)

'...This time the orchestra's soloist was one of the greatest....Wissam Boustany belongs to the instrumental elite....Wissam Boustany lives through his music...'

Ilkka, Finland (May 1992)

'...What gave the concert its golden glow was the superb soloist Wissam Boustany. This Lebanese/British artist seems to command all the finesse required to bring a piece to perfection....He made every note, every phrase come alive with musical intensity. His total mastery of the scores enabled him to communicate his intentions to the orchestra and elicit their response...'

Vasabladet, Finland (May 1992)

'...But most notable among them was undoubtedly the extraordinarily fluent and forthright young flautist Wissam Boustany, who, in terms of expressive power, defies the bounds imposed by his chosen instrument...'

Daily Telegraph (Aug 1987)

'...He possesses the most powerful will to communicate allied to a brilliant technique, generating a palpable electricity...'

Daily Telegraph (May 1985)

'...I imagine that many flautists will want to follow Wissam Boustany in playing it (Paul Reade's Concerto for Flute & Strings), provided that they can bring to it his outstanding ability and musicianship...'

Daily Telegraph (Jan 1985)

'...He reacts with precise sensitivity to the orchestral texture and is able to give the impression of overflowing spontaneity...'

The Guardian (Jan 1985)

'...Mr Boustany projected the big-boned music with energy and colour, covering a wide dynamic and expressive range. The brilliance and sonorous weight of his playing was also perfectly attuned to Martinu's First Sonata, enabling him to create a fine sense of open-air elevation in the slow movement and bring a sparkling, dancing spirit to the finale whose impetus was irresistably sustained...'

Daily Telegraph (Jan 1985)

'...One remarkable aspect of his performance is that he engages his own attention - and therefore that of his audience - from the very first note of each piece and having done so, that concentration wavers not a jot until the final bar line...'

Yorkshire Post (Aug 1984)

'...The Chamber Orchestra of Europe, mainly English, played well; its flutist was a star...'

International Herald Tribune (Aug 1984)

'...Prokofiev's D major Sonata Op.94 which showed the partnership of Mr Boustany and Russell Lomas at its excellent best, the Scherzo and Finale dispatched with great aplomb, the opening moderato and slow movement marked by truthful balance and sensitive playing...'

Daily Telegraph (Aug 1984)

'...A vibrant performer and brilliant technician...achieving a strong rapport with his audience through his intense will to communicate...'

Daily Telegraph (March 1984)

'...The young Lebanese Flautist Wissam Boustany rewarded his large audience not just with exceptional sleight of hand, as in the firefly Scherzo of Widor's Suite Op.34, but also with a rare exuberance of musical personality and determination to transcend the instrument's expressive limitations...'

The Times (Jan 1984)

'...The colourful Lebanese Flautist Wissam Boustany certainly stole the show from the audience's point of view with his suave, high profile account of Mozart's Flute Concerto...'

The Guardian (July 1983)

'...His tone at all levels was full and unforced, his phrasing instinctively Mozartian and his fast passage work in the cadenzas was a sheer delight...'

Daily Telegraph (July 1983)