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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.
“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.”
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.
“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.’”
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.
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.
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.
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).
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
Philadelphia, PA melissa@mormolyke.com 717-214-6121
