“Julien is a gifted composer and soulful performer. Her eloquent phrasing is intricate and inviting, and her arrangements are captivating. ‘Without’ is a wonderful jazz ballad that might as well already be a standard.”
—Casey Rea, Seven Days, March 29, 2006 [CD Review: Glee]

“Most intriguing was UVM composer Patricia Julien’s decidedly 21st century setting of Medieval mystical composer Hildegard von Bingen’s (1098-1179) O gloriosissimi. The striking harmonies in the strings underscored the drama of the brilliant vocal line almost in waves.”
—Jim Lowe, Times Argus, October 31, 2017 [Concert review: Burlington Chamber Orchestra]

“Julien is a nimble, gorgeously musical flutist.”
—Dan Cohen, The Muse’s Muse, November 20, 2013 [CD review of Still Light at Night]

O, Caligula! surprises with the quality of its music, which is decidedly tongue-in-cheek yet hits all the marks you expect a more-traditional musical to hit.”
—Brent Hallenbeck, Burlington Free Press, April 24, 2015 [Theater Review: O, Caligula! A Mvsical]

“Patricia’s miniatures are lovely and open. The third movement has a clever imitative counterpoint with a fugal figure stretched out and syncopated a little more with each appearance, coming together, separating into strands, and then leaping into high energy.”
—Dennis Bathory-Kitsz, We Are All Mozart, October 8, 2006 [Concert Review: The Last Kind Day]

“Patricia Julien is a spirited flutist with a warmly resonant tone.”
—Pamela Polston, Seven Days, June 16, 2004 [CD Review: Walking Tunes]

“At 30 minutes and in three parts, the dramatization of struggle and synthesis [in In/Voluntary Motion] involved seven excellent dancers [and a] brilliant electronic score by UVM composer Patricia Julien.”
—Jim Lowe, Times Argus, December 11, 2016 [Dance review: Paula Higa]

“Her ways with the full orchestra in the mercurial Among the Hidden are traditional, silvery, light-hearted and grandiloquent.”
—Rob Barnett, MusicWeb International, December 7, 2018 [CD Review: Prisma]

“…keep your ears at full attention with Patricia Julien’s controlled chaos on the flute, which, as Muhammad Ali would no doubt tell you, floats like a butterfly and stings like a bee.”
—Brent Hallenbeck, Burlington Free Press, April 1, 2010 [Frame Problem]

“Evocative original compositions.”
—Erik Esckilsen, Seven Days, November 11, 2015 [Theater Review: Marat/Sade]

“Flutist Patricia Julien’s abstract Jazz project consists of concise compositions that are executed with passion and precision.”
—Gian F., The Muse’s Muse, September 1, 2006 [CD Review: Glee]

Among the Hidden, with warm melodies and delicate nuances, is full of contrasting sections, from cheerful to sad, brisk and luscious (especially in the string section).”
—Gianmaria Griglio, February 13, 2018 [CD Review: Prisma]

“Composer Patricia Julien’s original score blends ethereal soundscapes to evoke the underworld and overworld.”
—Erik Esckilsen, Seven Days, October 8, 2008 [Theater Review: Eurydice]

Among the Hidden presents a sonic space where one can hide their saddest emotions; from the opening moments of the piece, the piano creates an opaque and cryptic world.”
—Marcal Borotau, Sonograma Magazine, February 28, 2018 [CD Review: Prisma]

“Patricia Julien inhabits her flapper costume with airy enjoyment of cigarette holder and upper-class disdain.”
—Alex Brown, Seven Days, October 25, 2017 [Theater Review: Gorey Stories]

“[T]he preternaturally sunny Ozma, played by Patricia Julien, gets laughs for her irrepressible optimism as she moves about the stage in lithe, fairy-like steps. The direr the circumstances become, the more delighted a heroine Ozma appears.”
—Erik Esckilsen, Seven Days, May 14, 2014 [Theater review: Ozma of Oz]