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[The Gonzales Cantata] is honestly, probably the coolest thing you've ever seen on this show. I know. I'm totally freaking out about it ... I spent all day obsessing about this, and watching clips of it online, and listening to the music, and I have to tell you, in my opinion, it is both great and kind of moving ... this is so cool, I could not contain myself.
— Rachel Maddow, The Rachel Maddow Show
[Hervararkvida]’s stunning instrumentation gives voice to a journey unlike any other. The mezzo-soprano sings the gender-bending role of Hervor/Hervarth, accompanied by a Hardanger fiddle-style violin part and a harp part that extends the instrument from sounds reminiscent of a bardic lyre to frightening spectral noises created by all manner of extended technique...
— WOSU Public Media
Though only around five minutes in length, Scallops and Bollocks for Tea from Australian Melissa Dunphy was the most fascinating piece on the program. It combines musical history, virtuosic writing for the violin soloist (Alex Granger), and aspects of video game lore.
— San Francisco Classical Voice
"It's heartbreaking and infuriating and frustrating to me as an Australian who feels like there has to be an easier answer."
— The Australian
The score by Dunphy requires the soprano to perform across a very wide range, and she does so with aplomb. The concept might seem a bit unusual, but it succeeds, and it manages to carry some emotional weight as well.
— Broadway World
...the loudest and longest applause of the afternoon went to Britten’s atmospheric, harmonically rich and technically interesting “Advance, Democracy” and Melissa Dunphy’s setting of, of all things, public testimony given by Philip Spooner before the state of Maine in 2009 regarding the Marriage Equality Bill.
— St. Louis Post-Dispatch
“[What do you think I fought for at Omaha Beach?] is an extraordinarily powerful piece,” said Saint Louis Chamber Chorus Artistic Director Philip Barnes. “I think it is way up there in the traditions of Copland or Roy Harris.”
— KWMU St. Louis Public Radio
[Composer-in-residence Melissa Dunphy's] “The Day of Resurrection” is written for double choir, a Chamber Chorus specialty, with liturgical echoes. Written mostly in 7/8 time, the music has an urgency that reflects the triumphal theme of the words. The new piece is a winner, and the choir gave it a superb performance.
— St. Louis Post-Dispatch
“I admire her writing,” Barnes says of Dunphy. “I think she has a very original mind. She’s an exuberant personality, but she’s very disciplined, and she writes exceedingly clearly.”
— St. Louis Post-Dispatch
Melissa Dunphy's O Oriens (O Morning Star) offered no gimmicks - just a model of sincerity, beautiful harmonic changes, and a great sensitivity to pitches and phrases that fall naturally on the human voice.
— Philadelphia Inquirer
The new composer-in-residence, Melissa Dunphy, contributed a new song, “Alpha and Omega.” For two choirs, it effectively juxtaposes texts from “The Pilgrim’s Progress” and the Book of Revelation, in a solidly written piece of choral writing.
— St. Louis Post-Dispatch
“I perform [What do you think I fought for at Omaha Beach?] because I think first and foremost it’s a wonderful piece of music,” Barnes said. “And I was very gratified that people of persuasions, of different points of view on the argument, came together and said, ‘this is worth doing, this piece, because its musical value is so high.’”
— KWMU St. Louis Public Radio
Revolution Shakespeare's lively, tuneful – and free – production of Shakespeare's early comedy brims with romance, enthusiasm, and cleverness [...] Melissa Dunphy's pop compositions transform monologues into love songs, arguments into duets – and, yes, we're invited to sing along at times.
— Philadelphia CityPaper
Directed by Samantha Reading, with an original score composed by Melissa Dunphy and performed by the multi-talented seventeen-person ensemble, this hilarious reinvention successfully delivers all of the Bard’s clever verse and humorous plot points to a country-rock beat.
— Phindie
[Dunphy's] “Together” (the words are taken from the Acts of the Apostles, 2:44-46) is a beautiful piece with fascinating complexity. Starting next fall, Barnes announced, Dunphy will be the choir’s composer-in-residence, with a commission for the first concert in the SLCC’s 60th season.
— St. Louis Post-Dispatch
As the audience entered and surrounded the flat, nearly bare stage on three sides, Dunphy sat—sometimes straight up, sometimes slumped—on an upholstered chair in front of a gold-gilt mirror, playing a black viola...
— Shakespeare Bulletin
Melissa Dunphy as Puck embodies pure mischievous glee with an engaging vitality (and her own theme music).
— Play Shakespeare
Melissa Dunphy is so gloriously gleeful that Puck’s actions as the engine of the plot end up making sense, which in all the madness of this play is quite the achievement.
— Phindie
Melissa Dunphy makes the most striking impression as Puck, as she wildly careens across the production in a state of frenzy, lithely scaling the floor-to-catwalk ribbons that flank the stage.
— Geekadelphia
On Dunphy, the jury remarked, “Melissa has a beautiful, clear and direct language. Without being trite or overly sentimental, her music speaks to the heart through gorgeous harmony and lucid text setting.”
— Boston Choral Ensemble
Melissa Dunphy makes an impressive debut with her soundscape and original compositions for ‘The Cherry Orchard’ even appearing onstage to play violin near the end.
— Delco News Network
Original music [for The Cherry Orchard] composed and performed onstage by Melissa Dunphy enhances each emotion.
— Philadelphia Inquirer
The top-notch acting and direction are enhanced by a splendid artistic design ... and haunting original music provided by Melissa Dunphy (as both composer and in her role as the Musician, performing live on violin).
— Phindie
The film composer Miklos Rosza's The Lord is My Shepherd, Stephen Paulus's Stabat Mater and Melissa Dunphy's powerful What do you think I fought for on Omaha Beach? are all, in their very different ways, rewarding pieces.
— Birmingham Post
[Croatian President] Josipović played numerous musical examples, including Benjamin Britten's "War Requiem," Shostakovich's "Leningrad" symphony, Tchaikowski's 1812 Overture, John Adams' "The Death of Klinghoffer," and Melissa Dunphy's "Gonzales Cantata."
— YaleNews
No one could ask for a more animated, intuitive, funny, and reflective Hamlet than Melissa Dunphy, whose readings and physicality are so astute, you believe Hamlet has come to actual, and not just theatrical, life before your eyes.
— NealsPaper
Actor/musician/composer Melissa Dunphy displays a remarkable command of the non-linear script, not once misspeaking a word of her 55-minute solo performance. She also accompanies herself on the latest carbon fiber viola, with expressive music that underscores the protagonist’s moods and emotions.
— Phindie
Dunphy's Hamlet would be an achievement in a traditional production; in iHamlet, she effortlessly transforms the compilation of Hamlet's lines into what is essentially an hour-long soliloquy.
— PlayShakespeare.com
Dunphy, hailed by Philadelphia Inquirer as "unquestionably the city's leading Shakespeare ingénue", is one of those once-in-a-century talents who burns bright everywhere she points.
— Violinist.com
You're also going to want to hear Melissa Dunphy's unique and affecting setting of - of all things - a WWII veteran's testimony on matters of sexual equality given before the Maine State Senate.
— American Record Guide
Dunphy's music has hints of an almost Copland-like robustness and makes effective use of imitation in a way that suggests a twenty-first-century composer with a strong sense of counterpoint.
— International Record Review
[The program] included the world premiere of Melissa Dunphy's elegant setting of the oath of allegiance that new U.S. citizens (including her) must take, and its sharp-edged shifts - from sustained choral harmonies to martial outbursts and back again - cast new light on a potentially drab piece of writing.
— San Francisco Chronicle
Dunphy’s musical commentary is straightforward and obviously very personal, and she uses a very rich and colorful musical language to reflect on the antiquated language of the oath and her own mixed feelings about it.
— San Francisco Classical Voice
Melissa Dunphy’s piece What do you think I fought for at Omaha Beach? is quite remarkable ... Dunphy’s music is unsettling and it’s a very individual setting which respects speech rhythms very well. It’s a thought-provoking piece not least for Spooner’s very moving sentiments.
— MusicWeb International
The most individual work is Melissa Dunphy's What do you think I fought for at Omaha Beach?; Dunphy shows great ingenuity and individuality in this powerful setting of Philip Spooner's public testimony before the State of Maine Senate discussing the Marriage Equality Bill.
— Choir & Organ
Another theme I’m very interested in is getting inside the heads of complicated antiheroes and finding a connection to them – a kind of empathy and love without necessarily a redemption. I think there’s value in that struggle as a way of dealing with history and understanding the present.
— Interviews with Alicia Byer
Melissa Dunphy, 33, has presented major works using the self-produced Fringe Festival model, which could well happen with Ayn (about The Fountainhead author Ayn Rand), which, like Solitro, she's writing for doctoral requirements at Penn.
— Philadelphia Inquirer
Then, there's Melissa Dunphy: a young and talented composer building her reputation as part of a new generation of Philadelphia composers one piece at a time.
— Sound American
The final piece of the concert was a new composition by local composer, Melissa Dunphy. She favors dramatic or political art music so I was curious to see what she would do with a commission for children's music. The result was brilliant!
— Local Arts Live
Peter Davison, the festival’s artistic director, said: “This will be a unique event. Melissa Dunphy’s piece received a standing ovation at its premiere performance and many were moved to tears."
— Wirral News
The final piece on the program was Melissa Dunphy’s stunning 2010 “What Do You Think I Fought for at Omaha Beach?” Excerpts from veteran Philip Spooner’s testimony before the Maine Senate, in a hearing on the Marriage Equality Bill, its music ranges from the Coplandesque to the martial.
— St. Louis Post-Dispatch
This piece demonstrates to me how a true artist is able to take even a most unlikely source of inspiration and yet create a new work of art from it.
— St. Louis Post-Dispatch
Top Five Political Satires in Opera: Number 2. The Gonzales Cantata
— WQXR Operavore
Best of all was Melissa Dunphy's "June." [...] The first of the two songs explored Lauren Rile Smith's poem about the lethargy of summer heat with great poetic control, neatly scaling back the electronic activity when necessary but ultimately conveying, with considerable mastery, the delirium of congested thought patterns. More, please.
— Philadelphia Inquirer
Dunphy likes to put quotation marks around the words “classical” when talking about classical music. She’s interested in music, but especially “the way different genres influence me.” She says her best work is usually inspired by important public events.
— Newburyport Arts
The final work of the evening was “Tesla’s Pigeon,” a new song cycle by the endlessly inventive Dunphy, whose smash-hit full-length oratorio The Gonzales Cantata rocked the 2009 Fringe Festival.
— Penn Gazette
Make Major Moves got the Fringe veteran - Melissa presented her concert opera “The Gonzales Cantata” at Fringe 2009 -on the telephone to talk about Kanye West, the decline of the Philly Orchestra, the new classical scene, her rock band Up Your Cherry, and how Nikola Tesla fell in love with a bird.
— Philadelphia Weekly: Make Major Moves
"I think that music is very linked to language, and I think it's linked to us physically very much. We have a heartbeat, and our heartbeat is kind of in triple time ... when we walk, we walk in duple time ... and we have this pitch range in our voice, and every language has a different kind of pitch contour ..."
— InsidersTalk
A newly commissioned work by Melissa Dunphy followed: “What do you think I fought for at Omaha Beach?” Dunphy’s music was exceptional, with supple lines effectively depicting the words of a veteran, and acerbic harmonies specifically setting the text “I’ve seen so much, so much blood and guts.”
— Kansas City Star
Australian-born Melissa has already achieved a level of success and recognition on a national level, including a spot on The Rachel Maddow Show for another large choral work, The Gonzales Cantata.
— KCMETROPOLIS.org
Macbeth shows Khan's willingness to experiment, focusing on Macbeth and his wife in a 90-minute paring driven by Melissa Dunphy's beautifully haunting music.
— Philadelphia Citypaper
Simon Carrington gave his reasoning behind selecting Dunphy's work as the winner. "There were plenty of excellent pieces in the sweet-sounding modern idiom which SCCS would make very beautiful, but the strongest (and most individual) piece was Melissa Dunphy's What do you think I fought for at Omaha Beach? - a bold and highly effective setting of a thought-provoking text.
— KCMETROPOLIS.org
Composer Melissa Dunphy has provided a soundscape for an assortment of exotic instruments played onstage: a Chinese ehru, Tibetan ringing bowls, and a varity of drums and gongs. The result not only heightens the atmosphere of the play, but in fact signals how we're supposed to feel about the action.
— Philadelphia Inquirer
A few days before starting her doctoral studies at Penn, Melissa Dunphy Gr’14 woke up to discover that she was a celebrity. The torrent of interviews and articles wasn’t confined to the arts and culture sections, either. Instead, the 29-year-old composer’s name was popping up on everything from the Huffington Post to Fox News.
— The Pennsylvania Gazette
"All right, check out this amazing "Shot of the Morning" that's become a hit online: this teenage girl [sic] playing Bach's Prelude in C, and apparently it's so easy, she can do it upside down! At least her parents can't be mad at her for not practising her piano, right?"
— Fox & Friends - Fox News
Fellow graduate student Thomas Patteson, who attended one of the performances, observes, “The Gonzales Cantata is effective both as a work of art—the music is exquisite—and as mordant political commentary.”
— University of Pennsylvania SAS Frontiers
That was the “Gonzales Cantata,” an opera composed of the transcripts from Alberto Gonzales‘ testimony to the Senate and his resignation in 2007. The young composer behind that masterful aria, 29-year-old Melissa Dunphy, lists among her musical influences the composers John Adams and Phil Klein, both of whom have used politics to make high art of their own.
— The Rachel Maddow Show
...confident, charged composition and orchestration, [with] pragmatic inventiveness in the cantata's construction, [and] frequent wittiness and use of irony.
— J's Theater
Her Gonzales Cantata - more PDQ Bach than Nixon in China - uses Handel's formality and symmetry as a starting point, humorously colliding with Gonzales' anything-but-symmetrical train of thought, quoted from the 2007 Senate Judiciary Committee hearings
— The Philadelphia Inquirer
Take heed, folks, not only should you go see this work – you should examine how this 29-year-old graduate student has received more press about her cantata than most major composers do when they win the Pulitzer Prize
— Sequenza21
Lovely conductor/composer Melissa Dunphy has seamlessly re-created former Attorney General Alberto Gonzales’ 2007 judiciary hearings as an opera, with epic results.
— CityPaper (Philadelphia)
Dunphy is just as passionate about politics as she is about the arts. She veers away from musical theory to cheer on Barney Frank for his blunt comments at a recent health care town hall. But she does not espouse any political bent in the opera.
— Edge Philadelphia
The career path of Alberto Gonzales provides perfect material for an opera in the tradition of George Frederick Handel. It has its earnest moments, flashes of heroism (involving Gonzales’s victims, of course, not the protagonist), and yet there is a steady undercurrent of opera buffa.
— Harper's Magazine
Every word in composer Melissa Dunphy's 40-minute choral production comes from Gonzales' Senate testimony. They never sounded more beautiful (Except maybe to the ears of relieved Team Bush members back in the White House) than when they are sung, especially by this bunch.
— The Chicago Tribune
And if congressional hearings are your idea of a good time - aren't they all - a theater in Philadelphia has a night on the town for you.
— Fox News
[The Gonzales Cantata] is honestly, probably the coolest thing you've ever seen on this show. I know. I'm totally freaking out about it ... I spent all day obsessing about this, and watching clips of it online, and listening to the music, and I have to tell you, in my opinion, it is both great and kind of moving ... this is so cool, I could not contain myself.
— The Rachel Maddow Show - MSNBC
I’ve had both Republicans and Democrats come to the show and remark that it really wasn’t about party politics. It’s about a man who made some mistakes and is facing the music. It’s also an exploration of how a man could so brazenly politicize the Department of Justice without really standing up for the reasons he went into politics in the first place.
— The Wall Street Journal law blog
"I am a liberal, but this is not a partisan piece. This piece is not about Democrats or liberals, this piece is about a man who made mistakes and has to face the consequences of his mistakes."
— Broad Street Review
Dunphy's musical piece overwhelmed me with the way it transformed the tedious machinations of an insider industry into a brilliant work of art.
— Broad Street Review
Melissa Dunphy made her debut at the Lantern as Ophelia, and she performed marvelously. An emotional punching bag, Ophelia is used as bait and lost to madness herself; Dunphy did a beautiful job embodying what grief and emotional turmoil can do to an individual, her facial expressions speaking volumes.
— Examiner
Laertes' sister, Ophelia, is portrayed with real passion by Melissa Dunphy, the striking actress who last year hit bull's-eyes in two young-lover roles at the Philadelphia Shakespeare Theatre. She is unquestionably the city's leading Shakespeare ingenue.
— Philadelphia Inquirer
Melissa Dunphy, a near-perfect Juliet, appears to be a rapturous teenager and transmits a wonderful impetuosity.
— Broad Street Review
[Dunphy] herself offers up a radiance that belies wisdom for one so young ...The repartee between Mr. Schirner and Ms. Dunphy in this scene by turns harrowing and hilarious is also a fine testimony to Ms. Khan's winning touch with actors.
— Press/Review
Uniquely in my experience, Melissa Dunphy made Pericles' kidnapped daughter Marina believable as a 14-year-old able to turn wickedness to virtue by example and exhortation - and fortuitously can actually play the violin well.
— Gay City News (New York)
And without a similar global trade today—one that freely trades in products, art, and ideas—Philadelphians would not get to see the tender and nuanced performance of Australian native Melissa Dunphy in her local professional debut as Pericles’s daughter Marina.
— Broad Street Review
[Melissa Dunphy's] acting is on a personal level with her audience. When delivering her monologues, Dunphy is able to draw the audience, as if she is speaking directly to them. Dunphy is outstanding in the role, conveying with both her voice and body language all the emotions felt by Juliet as she rebels against her father and falls in love with her enemy.
— The Quad
She's Melissa Dunphy, and she's from Australia. She plays from the heart, and also delivers the cast's best line readings of Elizabethan English ...
— Philadelphia Inquirer
Melissa Dunphy's setting of Luke Stromberg's Black Thunder reflects the extravagance and paranoia of young love and its powerful ending.
— WRTI Critic-At-Large Podcast
In the second half, Luke Stromberg's marvelous poem "Black Thunder," about the aftereffects of drink, was given an appropriately bluesy haze by Melissa Dunphy.
— Philadelphia Inquirer
As Ophelia, Melissa Dunphy flew around the set. Her mad scene and beautiful singing voice were mesmerizing. I loved the fluidity of her movement as she portrayed the Player Queen and Lucianus, and her transformations into Horatio and Guildenstern defied the elements of time.
— Patriot-News
"The music is very jazzy, very sophisticated," said Melissa Dunphy, who is part of the cast besides serving as Gamut's music director. "It's very '30s and '40s."
— Patriot-News
The fourth member of the key quartet is Melissa Dunphy, dark-haired, dark-eyed and full of anger. She plays the fiery Hotspur (Henry Percy) with an intensity and rage that make her a compelling figure to watch.
— Patriot-News
"It's so different," Dunphy said. "You have to think yourself into a man's body. Since I'm five foot three and don't look anything like a man, it's hard to think myself into having broad shoulders and thinner hips."
— Patriot-News
"Melissa is really talented, and she brings a lot of new talents to the company we've not had before."
— Patriot-News
"I like Melissa's blog. It helps in my business to intimately know my employees."
— Central Penn Business Journal
Ambient music played onstage by violinist Melissa Dunphy also helps to create a dreamlike atmosphere.
— Patriot-News
Ariel, played by Melissa Dunphy, who slithers and slides on the stage and leaps and climbs all over it, seeks to be freed from Prospero's spell and serves as his eyes and ears. She also plays a recorder competently, adding to the production's eerie tone.
— Patriot-News
Melissa Dunphy can relate to characters in an epic romance. She's living one herself, thanks to rock group Nine Inch Nails and U.S. Citizenship and Immigration Services.
— Lancaster Intelligencer Journal
Even the background players in this production are noteworthy: the raucous fairies double as musicians and singers, playing rustic but graceful tunes by Melissa Dunphy
— Patriot-News
Dunphy's Juliet is … a joy to watch … [her] face is captivating, whether in rapture or tears.
— Lancaster Intelligencer Journal
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