"'Avalerion,' a piece commissioned for Firebird Ensemble ... began and ended with a melody in the viola, and in between there was a dark and stormy death scene, but it was Amy Advocat’s soaring clarinet that made the piece take flight."  — The Boston Globe


 "Amy Advocat, bass clarinet, and Matt Sharrock, marimba were nothing short of fabulous continually leaning on the threshold of discernibility."  — The Boston Musical Intelligencer


“The disjointed passages in the marimba and bass clarinet called for playing that was amazingly precise. Ms. Advocat was especially accurate in her attack, weaving in and around the marimba and electronics with steady confidence.” — Sequenza 21


 "From Amy Advocat’s clarinets came almost human plaintiveness." — The Boston Musical Intelligencer


 "what is most impressive in this recording is Advocat’s extreme control and beauty in the instrument’s high register. Energy and excitement builds until the work ends as it began, with a “Bang on a Can”-style, hard-driving ostinato between a brake drum-sounding marimba and repetitive low Cs beautifully belted by Advocat." — The Clarinet


"Advocat punched into the end with Snowden’s Shovelhead, written for bass clarinet and live electronics. Though likely composed before Snowden and Advocat knew each other well, the piece seems perfectly suited to Advocat’s style, whose eclecticism and energy on the stage are unsurpassed. Decorated with laughter, car noises, and “Hey, papi”s, Snowden’s signature bass drop returned and Advocat’s confident, sarcastic tone ripped through all."  — The Boston Musical Intelligencer


 "Bass clarinetist Amy Advocat certainly gave the Matthew Mendez's Riff (raff) plenty of oomph and sex appeal in her tone and opulent phrasing. ... If this was a technically difficult piece, Ms. Advocat deserves high praise for making it sound easy."  — The Boston Musical Intelligencer


 "They were all involving, well-crafted works, played with great confidence by Advocat and Sharrock."  — The Boston Globe


"Scene 4 is a Rooster Ballet, a courtly dance where [Doug] Dodson's Farinelli occasionally loses control to his inner chicken. To this inspired madness Amy Advocat played a wonderful solo cadenza on her Bohlen-Pierce clarinet."  — The Boston Musical Intelligencer


"Black Moon is an exposition of ‘extended techniques’ for bass clarinet -- multiphonics and other devices, dazzlingly played by Amy Advocat."  — The Boston Globe


“The opera’s instrumental interludes move in a ghostly collage of bent pitches, marimba rolls, and spare lines, played expertly by Amy Advocat (clarinet), Kent O’Doherty (saxophones), Lilit Hartunian (violin), and Mike Williams (percussion).” — Boston Classical Review

 "The bass clarinet writing alternates between rhythmically synchronized material with marimba and “down and dirty” moaning effectively realized by Advocat through pitch bends, slap tongues, grunts and wails. Most admirable about Advocat’s playing here is her template of slap tongue styles and articulation in general. The ensemble between Advocat and Sharrock is very impressive, as is Advocat’s handling of the extremely wide leaps, technical demands and constant character changes in this work."  — The Clarinet


"It was beautifully played by the musicians… clarinetist Amy Advocat, a particularly noteworthy standout."  — The Berkshire Eagle


"Advocat returned by herself and breathed vivid life into the Lee Hyla’s Mythic Birds of Saugerties for bass clarinet. An extroverted tour de force of birdsong that uses the huge range of timbres provided by the instrument to great effect, it is Messaien’s Abime des Oiseaux with big muscles and a willingness to yell, and the performance was energizing enough to make one wonder why we don’t hear more solo bass clarinet."  — The Boston Musical Intelligencer


"Featuring bowed marimba, brushed percussion, and clicks and blows of the clarinet, Lubkowski’s piece offered debilitating, staggering contrasts, though a fair match for the likes of powerhouse Advocat and steady-handed Sharrock. The duo does not shy away from extended techniques and experimental sounds; instead, they invite new sounds, fearless and unapologetic." — The Boston Musical Intelligencer


"The animated clarinetist Amy Advocat opened with an immaculate and flawless take on the very difficult Chase. ... Her exaggerated movements helped to define the structure, shifting character both in her motions and in her interpretation of what Sims wanted. Chase, though rather short, wholly engaged. Heavily varied in character, it never stayed in one sound world for longer than necessary."  — The Boston Musical Intelligencer


“Still, I have to give all honor to the four instrumentalists, who played almost non-stop for the full length of the opera, with no conductor and with a score that tended to avoid regular metrical gestures that would help them stay together. Amy Advocat (clarinets), Philipp A. Staudlin (saxophones), Chirs Moore (trombone), and Mike Williams (percussion) kept a chamber-music togetherness throughout.” — The Boston Musical Intelligencer


"Especially noteworthy was the ensemble playing of Catherine French (violin), Joel Moerschel (cello), Amy Advocat (bass clarinet), and Christopher Oldfather (piano), whose descending melodies were tender and sensitive. ... Amy Advocat’s buoyancy in the clarinet balanced the potentially deadening weight of the kickdrum."  — The Boston Musical Intelligencer


"Another of Mr. Staud’s works, “Black Moon” (1998), used an unaccompanied bass clarinet (played by Amy Advocat) similarly, if more aggressively, on Saturday morning, giving it both gently bent notes and elephant honks."  — The New York Times


 "The zenith, the excellent soloists Michael Norsworthy and Amy Advocat leading an incandescent, bracing chorale, was transporting."  — The Boston Globe