“This talented ensemble of four provides the heartbeat to the show with sometimes haunting, sometimes harrowing music composed by Michelle DiBucci, Edward Bilous, and Greg Kalember.”
-Pete Hempstead, THEATERMANIA

“A richly varied music score, by Michelle DiBucci, Mr. Bilous and Greg Kalember, is played live by a four-piece band…The images of Afghanistan often have a hypnotic beauty, and the music brings a consoling warmth to even the grimmer passages.”

“This production brings the gritty, brutal truths alive in ways that nothing I’ve read or seen has succeeded in doing.”
-Charles Isherwood, THE NEW YORK TIMES


“The house was packed on Tuesday; the audience went wild before, during and after the show.”
– Siobhan Burke, THE NEW YORK TIMES

 “A deeply satisfying presentation.”
Sarah Kaufman, THE WASHINGTON POST, on “The Nature of All Things”

“Michelle DiBucci and Edward Bilous’s …baroque-inspired music proved effectively provocative accompaniment.”
-Robert Greskovic, WALL STREET JOURNAL

“Moving slowly to the sound of a sweet searching violin (rich, questing music by Michelle DiBucci and Edward Bilous).”
-American Dance Festival, by THE FIVE POINTS STAR


“‘Cancer’ borrows basic structure and many grace-notes from the Burnsian canon. No famous voices read historical documents, but the music is there, pushing viewers this way and that.”
-Mary McNamara, LA TIMES

“This absorbing series, directed by Barak Goodman, has as an executive producer, Ken Burns, who knows something about how to make a documentary about a war and how to make history come alive.”
-Neil Genzlinger, THE NEW YORK TIMES


“…. Can this subject matter be melded into a ballet soiree? Can dance meet the demands of that fragment of history? Gelsenkirchen’s ballet director Bridget Breiner, together with the composer Michelle DiBucci, answered this question with a resounding, triumphant, ‘yes!'”

“The thirteen-member dance ensemble, five singers and the Neue Philharmonie Westfalen, under Valtteri Rauhalammi, create an oratorio of sounds, voices and bodies that translates the luminosity of the template into a polyphonic theatrical language.”

“This is set to the reduced, but then again and again polyphonically layered singing in DiBucci’s work, which is full of depth, infused with clear melodies, but also moments that call the audience to listen up, as well as sound effects and pure sounds. The work is asking a lot of our senses. The desire to further consider the impact of what has been heard, but at the same time, not letting go of the attraction of the fast-moving choreography – and in terms of content, following the biographical scenes in particular for viewers who have not informed themselves deeply of the stations of Charlotte Salamon’s life.”

“…  the spellbinding work of the New York composer Michelle DiBucci …. a celebrated premiere.  Breiner and the large cast of highly motivated dancers, singers and musicians created a complex evening of exceptional intensity…”

“… the music – sometimes elegiacally tender, sometimes furiously powerful, wildly jagged, full of innuendos of Gluck’s Oprheus (“Ach ich habe sie verloren), Bizet’s doomed Carmen, and Beethoven’s brotherhood anthem of the Ninth, with French accordion sounds and devastating guitar riffs…”

“Breiner won the American composer Michelle DiBucci for writing the music for the ballet: 15 musicians, not symphonically but rather cinematically conceived, postmodern, interspersed with classical quotes (Mozart, Bizet and Schubert’s Death and the Maiden at the end), very impressively following Salomon’s images, which – projected on canvas – float by at the back of the stage.”
-Heinz-Albert Heindrichs, RUHR NACHRICHTEN

“Michelle DiBucci composed a gripping score for Breiners ballet, with a brilliant stage set by Juergen Kirner. The Neue Philharmonie Wesphalia performed passionately under Valtteri Rauhalammi. The Ballet im Revier keeps raising its profile. All involved gained the respect of, and were celebrated by, the audience attending the premiere.”

“Bridget Breiner and the American composer Michelle DiBucci chose in close co-operation from some key scenes from this Singspiel and created an impressive scenario with the density and most intensity in the second act.”
-Marieluise JeitschkoTANZETZ.DE

“The work by the American composer Michelle DiBucci was accompanied by a 15-person chamber orchestra, singer Anke Sieloff and a quintett of singers of the Musiktheater Gelsenkirchen supporting with lyrics and song the dancers of the Ballet im Revier. That way the entirety of the artistic oevre of Salomon was comprehensible in its entirety.  Digital projections of her pictures were woven into the stage set.”

“All artists and creatives involved in the work inspired the audience with Bridget Breiner’s interpretation, which was obvious from the extended applause and bravos.  A very convincing Gesamtkunstwerk that mirrored Charlotte Salomon’s biography in vivid images, choreography, dance, music, vocal artistry and lyrics.”
-Herbert Terlau, HALLOHERNE

“The score is by composer Michelle DiBucci, who likewise reconciles opposites: jazz, Mozart, Bizet and Tango, atmospherical, cinematic music with long continuous tones and sudden dissonances. The aria “Ach, ich habe sie verloren” of Gluck’s Orpheus and Eurydike (sung by Anke Sieloff) appears to be the recurring leitmotif. the aria is being sung in its entirely, picked up again, the first phrase is being transposed, discolored by the basoon and brass instruments. DiBucci knows how to make quotes work atmospherically, thereby creating something new. She also incorporates a men’s quintett which has the most impact when simply integrated into the stream of music. the Neue Philharmonia Westphalia under Valteri Rauhalammi implements the score clearly and with an edge.”


“…a wonderfully eerie score by composer Michelle DiBucci.”

“…Michelle DiBucci’s score is a mesmerizing listen … spare, chilling …
With exceptional creativity, DiBucci has crafted a dark, melodic fairy tale.”


“DiBucci, combines Native American percussion, chanting, flutes, strings and a children’s choir to haunting effect. DiBucci’s score works to highlight the tragic aspects of the story, as well as the creepiness, by weaving together a sparse and melodic tapestry that not only reflects the eerie mood of the film, but, with its utilization of traditional Native American instruments and field recordings, sounds like it could emanate from the very earth itself.” Audiodrome: Music In Film Written by James Gracey , PARACINEMA

“A monster movie about childhood and myth, Wendigo impressed us enough last year to write it up in a feature story (see RM#25). The soundtrack album took a while to make it into our offices, but I’m not surprised to learn that the music is largely responsible for the metaphysical dread that permeates the film. Riffing from the movie’s twin motifs (Native mythology and childhood fantasy), composer Michelle DiBucci combines Native American percussion, flutes, chants, and vocal melodies as well as a children’s choir and string orchestra with the occasional – understated – horror movie flourish. It’s an artfully crafted representation of the film’s themes, full of fear, wonder and reflection. Available from ***** (5 out of 5) ”
— Greg Chant, RUE MORGUE Magazine

“MONSTERS AT THE DOOR: If you’ve run out of gas in the midnight woods, Wendigo (Pacific Time) is the last thing you want draining your car radio’s power. But in the comfort of your home’s cd player, Michelle DiBucci’s score is a mesmerizing listen. With spare, chilling effectiveness, Wendigo conjures the forest demons in a little boys fevered imagination. Female voices, monstrous howls, violins and native American percussion create a snowy landscape as creepy as all get out. With exceptional creativity, DiBucci has crafted a dark, melodic fairy tale that makes for a ghost story well told over a campfire.”


“…gripping and thoughtful documentary”
-Elvis Mitchell, THE NEW YORK TIMES


“The stunning genius of this rich and poignant documentary is its careful probing, through narratives, of the limits, possibilities and reality of forgiveness.”