In his intermezzo “And you Must Suffer”, a setting of the poem “L’apocalyse arabe” by the Lebanese painter and writer Etel Adnan, Samir Odeh-Tamimi displays deep imagination and a sense of complexity. Here, an important Arabian voice is making himself heard in Europe.
Opernwelt, Shirley Apthorp, May 2017 (on the Opera Forward Festival Amsterdam)
Also strong was “Jarich (Mondgott)”, in which the Palestinian Samir Odeh-Tamimi remembered the suffering of his family, victims of the Israeli-Palestinian conflict. Here, three dramatically articulated female voices were recorded onto tape, and transformed in a nightmarish fashion. To this were added decontextualized aural snapshots of Palestine: ritual songs, Sufi music, gongs and drums. This work created a sonic maelstrom.
Stuttgarter Nachrichten, Verena Grosskreutz, 11/2/2014 (on the ECLAT Festival Neue Musik Stuttgart)
In their works “Cihangir” and “üg” for ensemble and electronics, composed in 2008 as part of the Siemens Arts Program project “into Istanbul”, Samir Odeh-Tamimi and Marc Andre listened directly to the city on the Bosphorus. Odeh-Tamimi portrays a modern metropolis; Andre paints a perhaps clichéd yet nevertheless alluring picture of an oriental city. Both convey the sense that there is no reason to fear the “other”. Such ambassadors would be invaluable to states and nations.
Der Standard, Heidemarie Klabacher, 2/8/2014 (on the Salzburger Festspiele)
The world premiere of Samir Odeh-Tamimi’s “Oh Leute, rettet mich vor Got” was a sensational aural experience. In this work, the Palestinian-Israeli composer refers to the medieval Islamic mystic Mansur Al-Hallaj, combining his religious texts with two poems by the Syrian lyric poet Adonis, born in the 1930s, which describe the alienation of man from their origins through destruction and technological rationality. Language and words here lie at the centre of existence. Odeh-Tamimi’s piece is appropriately eloquent, with spinning vocal figures that stammer, become ecstatic, solidify and then break apart again. Sudden tempo changes shift the work between meditative chant and roaring at breakneck speeds. The audience in the Südkirche was overwhelmed.
Esslinger Zeitung, Dietholf Zerweck, 11/9/2012 (on the Musikfest Stuttgart)