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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
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 it’s 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.
[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
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.
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
— 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).
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."
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.
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.
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.
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.
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