Melissa Dunphy


Melissa Dunphy is an Australian-American composer best known for her vocal, political, and theatrical music. Born in Australia and raised in an immigrant family, Dunphy herself immigrated to the United States in 2003 and has since become an award‐winning and acclaimed composer.
She first came to national attention when her large‐scale work the Gonzales Cantata, a 40-minute choral piece in Baroque style that sets the text of the parts of the dismissal of U.S. attorneys controversy hearings in which former Attorney General Alberto Gonzales testified. It was featured in The Wall Street Journal, The Atlantic, National Review, Fox News, and on the Rachel Maddow Show in 2009; Maddow described it as "probably the coolest thing you've ever seen on this show." Dunphy completed her doctoral degree at the University of Pennsylvania in 2014 and is currently on the composition faculty at Rutgers University.

Early life

Born in Brisbane, Australia, Dunphy was raised in an immigrant household. Dunphy's father was a Greek immigrant, and her mother was a refugee who fled from China to evade the Cultural Revolution. Dunphy first began piano lessons at age 3. Her mother introduced her to music after reading that "kids who studied classical music are better at math." Dunphy grew up playing violin and viola in addition to singing in choirs.
After graduating high school, Dunphy moved to Sydney to attend medical school, which she left after 9 months, and explored careers in corporate law, television production, and live theater. After immigrating to the United States in 2003, Dunphy was asked to write music at the last minute for a production of A Midsummer Night's Dream that she was acting in, which helped her discover her love of composing and choose to pursue it professionally.

Career

Dunphy has served as the composer-in-residence for multiple institutions, namely the Immaculata Symphony Orchestra, the Volti Choral Arts Lab, and the St. Louis Chamber Chorus. She has been the Director of Music Composition for the National Puppetry Conference at the Eugene O'Neill Theater Center since 2014. Dunphy has been a Part-Time Lecturer and Composition Instructor at Rutgers University Mason Gross School of the Arts since 2018, and was a University of Pennsylvania Music Department Lecturer in 2020. She is currently the President of the Board of Wildflower Composers since 2021, and has been a member of the board since 2020.
  • Rutgers University Mason Gross School of the Arts Part-Time Lecturer, Composition Instructor – since 2018
  • National Puppetry Conference at the Eugene O'Neill Theater Center, Director of Music Composition – since 2014
  • President of Wildflower Composers, board member since 2020 and Composition Teacher in 2020
  • 2020: University of Pennsylvania Music Department Lecturer
  • 2010: Composer-in-residence, Immaculata Symphony Orchestra
  • 2013–2014: Composer-in-residence, Volti Choral Arts Lab
  • 2016: Composer-in-residence, Volti Choral Institute
  • 2015–2018: Composer-in-residence, St. Louis Chamber Chorus

    The Boghouse

In 2016, Melissa Dunphy and her husband, Matthew Dunphy, discovered revolutionary war-era privies while renovating a former magic theater that they had just purchased in Old City, Philadelphia. After excavating the first privy, they found hundreds of ceramic artifacts, glass bottles, oyster shells, and animal bones dating back to the early 1700s. Refusing to sell the items, the Dunphys kept the artifacts and are still in the process of cleaning centuries worth of composted human feces and mud from the various broken sherds and artifacts, and slowly piecing them back together.
Melissa and Matthew have a podcast named The Boghouse where they talk about their adventures buying the magic theater, and the chaos that followed their discovery of thousands of pre-revolutionary artifacts. They tell stories about the people behind the artifacts and their changing neighborhood over the decades that the privies were active. The podcast has been described as "richly informative" and "highly amusing" and the Dunphys have been called "exactly the advocates archaeology needs."

Choral Works

A Gritty Resolution
In 2024, Melissa Dunphy was commissioned by the local a cappella group PhilHarmonia to write a composition for its 10th anniversary show. The only stipulation was that it had to be about Philadelphia.Although Dunphy, a Philadelphia enthusiast, was nearing her deadline with no ideas, inspiration struck as she glanced at her 2020 protest sign featuring Gritty, one of the city's beloved sports mascot. The sign, which read “F--- around and find out,” sparked the idea to write a song about Gritty.
Dunphy chose to set the 2018 City Council resolution welcoming Gritty as the mascot for the Philadelphia Flyers. The result was “A Gritty Resolution,” likely the first choral work based on a city's resolution honoring a sports mascot, generating significant interest from choirs nationwide.
PhilHarmonia premiered “A Gritty Resolution” along with two other commissioned pieces at its free 10th anniversary concert, in the summer of 2024 The event, held at the Settlement Music School's Germantown branch, featured various works celebrating Philadelphia, including an a cappella rendition of the 6ABC Action News theme song.
“We really don’t have hockey in Australia, where I’m originally from. Ice skating isn’t a ‘thing’ there. But Gritty is the best thing ever. I would die for Gritty.”
N-400 Erasure Songs
Dunphy was commissioned by Cantus, an eight-member male vocal ensemble, in 2021 to write a piece on the subject of immigration. She asked two poets, Nina Pollari and Laurel Chen, to black out text on the Form N-400 to create Erasure poetry which she then set to music.
The work consists of three movements and has been described as "powerful," and "haunting and mournful." An SATB arrangement was subsequently commissioned by the South Bend Chamber Singers, and the work has notably been performed by Boston Choral Ensemble, Seattle Pro Musica, Quincy Civic Music Association, and numerous times by Cantus.

Operatic Works

Alice Tierney

In 2020, Dunphy was commissioned by the Oberlin Opera Commissioning Program to develop her opera Alice Tierney with librettist Jacqueline Goldfinger. She was the recipient of a 2020 Discovery Grant from Opera America, funding three workshops with Oberlin Conservatory students that took place while the work was created. The opera tells the story of 19th century sex worker Alice Tierney, who was found strangled on a fence at the back of Dunphy's property in Center City Philadelphia in 1880. Her death was ruled as an accident and never investigated, though a murder is a far more likely explanation.
The story of Alice Tierney is told through the perspective of four modern-day graduate archaeology students who are excavating the property and trying to piece together the details of Tierney's life and death. The archaeologists share their own backstories, which influence how they interpret the various clues they find about Alice's life. Ultimately, the opera explores questions of how stories change depending on who is telling the story – how our own assumptions, motivations, and bias influence the way we understand a narrative.
Alice Tierney is influenced by a variety of musical styles: Dunphy describes her music as a mix of "pop music from the two eras, the 1880s and 2023". The opera was premiered at Oberlin Conservatory and Opera Columbus in the spring of 2023, and was mounted again at Boston University in October 2023.
Since the premier, the Dunphy's have continued to dig in and around their property, finding large amounts of historic artifacts, piecing together broken pieces into nearly intact bowls.

Gonzales Cantata

Conceived while Dunphy was at West Chester University of Pennsylvania, the cantata has a libretto taken entirely from the transcript of the Gonzales hearings, which Dunphy found dramatic. Because Dunphy wished to highlight the fact that the Senate Judiciary Committee was made up entirely of men, with the exception of Dianne Feinstein – and also because there are more female opera singers than male – she reversed the genders and cast sopranos as Gonzales and as the male senators. Orrin Hatch is an alto, because he was more sympathetic to Gonzales and it needed "a different vibe"; Feinstein is a male tenor. The cantata includes an aria for Gonzales called "I Don't Recall," in which the soprano sings the title phrase 72 times, the same number of times that Gonzales said it in the hearings. Dunphy reports that she asked John Ashcroft for permission to arrange his song "Let the Eagle Soar" as a "companion piece," but he turned her down on grounds of "artistic differences."
The piece is generally Baroque in style, with some use of more modernist dissonance in the orchestration. Julian Sanchez described the cantata as "sort of like Henry Purcell filtered through late John Adams"; other reviewers mentioned its similarity to Handelian opera or to P.D.Q. Bach, or pointed out the use of "Coplandesque harmonies when characters were being folksy."
The work premiered at the Philadelphia Fringe Festival in September 2009. It was staged as a cantata or oratorio; characters wore red or blue dresses depending on party affiliation, with tiaras as well as sashes bearing their names. American Opera Theater staged the work as an opera in February 2011; reviews were less positive, with critics saying that Dunphy's parody of Baroque music compared unfavorably to P.D.Q. Bach and criticizing her out-of-period use of dissonance. Anne Midgette, criticizing the piece's lack of a coherent message, wrote, "Performed as a cantata, this piece may be an amusing diversion; staged as an opera, it reveals its dramatic deficiencies and loses some of its zany humor."