Donnacha Dennehy’s music has been featured in festivals and venues around the world, such as the Edinburgh International Festival, Carnegie Hall New York, The Barbican London, The Wigmore Hall London, The Linbury at the Royal Opera House London, BAM New York, Tanglewood Festival, Holland Festival, Kennedy Center, Huddersfield Contemporary Music Festival in the UK (which opened its 2012 Festival with a portrait concert devoted to Dennehy’s music), Dublin Theatre Festival, ISCM World Music Days, Bang On A Can, Ultima Festival in Oslo, Musica Viva Lisbon, the Saarbrucken Festival, and the Schleswig-Holstein Festival.
Upcoming Concerts from Donnacha Dennehy
Maire Flavin, Sharon Carty, Benedict Nelson, Aaron Monaghan, Crash Ensemble, Chorus (cond. Ryan McAdams)
Opera Forward Festival, Amsterdam (Dutch National Opera Presents)
Zankel Hall, Carnegie Hall (US Premiere - Carnegie Hall co-commission)
Campbell Hall, University of California at Santa Barbara
LA Phil New Music Group (cond. John Adams)
Walt Disney Hall, Los Angeles
Works and Compositions
“Donnacha Dennehy has a soundworld all of his own.”
"From the exhilarating score, lyrical singing, and dazzingly intricate design, this is a work that needs to be seen more than once in order to absorb the rich detail. Like its recurring filmed image of a murmuration of starlings, it soars."
"The Last Hotel unleashes a thrilling musical energy. Dennehy's 12-piece ensemble includes accordion, electric guitar and heavy percussion, and thrums with a savage, unstoppable groove, shouting the unspeakable, seething with emotions that characters are too numb to express."
"Softly evocative at times, it expands to a deafening roar at a climax of fiery death. Lock me anywhere with that piece, any time."
"Then a trapdoor opens. The Dowlandesque dissonances thicken further into dense, microtonal chords, creating from the uncanny pure tone of the viol consort vivid, intense new colors: harmonies suggest at once the iridescence and the taste of an old copper pot, or both the rainbow halation of a streetlamp on a misty night and the buzz of its sodium bulb. The effect was hypnotic, and the piece, a single 38-minute movement, could have gone on forever and felt like a moment."
"A wonder to hear."