photo of Dale Kavanagh

She is a first class musician and performer at the world level.

The Mail Star - Canada

This is one of the most musical recordings of Benjamin Britten's "Nocturnal" that I have ever heard.

Soundboard Magazine - USA

This young artist amazed the Berlin public.

Guitar & Laute Magazine - Germany

Best of all for me was Dale Kavanagh's interpretation of the difficult "Tres piezas" by Rodrigo, which, frankly, I have never heard played better.

Classical Guitar Magazine - England

Tonight Dale played solo - fast, clean, powerful, musical - an incredible concert.

Mannes College, Manhattan, June 2008
Soundboard Magazine - USA

A true poet on the Guitar.

Volks Blatt "Die Kultur News fur Liechtenstein"

Dale Kavanagh has taken the art of pianissimo to a new level. She was able to project even the most inticate arpeggio phrases with absolute transparency.

Washington Post - USA

Upcoming Concerts

Date Description
August 30, 2019 Krefeld / Burg Linn
September 1, 2019 Iserlohn (Orgelsommer mit Tomasz Adam Nowak)
September 8, 2019 Barendorf (13. Draht-Saiten-Akt)
September 15, 2019 Dortmund (Museum f. Kulturgeschichte 18h)
September 26, 2019 Esztergon/Ungarn
September 30, 2019 Anhui, China
Full list of concerts


A review of the Premiere of my composition „Train to Monterosso „ written for Duo Bandini-Chiacchiaretta , Segovia, Spain. July 2018

January 17th, 2019


March 16th, 2018

This was an interesting week in Timisoara. A duo concert with Thomas, Quartet with Christian Gruber and Peter Maklar and tonight Andaluz Concerto by Joaquin Rodrigo with the Timisoara Symphony Orchestra.

March 16th, 2018

Omni, San Francisco

April 25th, 2016

IMG_5429 (1)

San Francisco Examiner, April 24, 2016

April 25th, 2016

Last night we “Amadeus Guitar Duo” performed in San Francisco and it was a lovely night and we received a nice review.  Here is an excerpt of the review about my new composition called “Impressions”

More interesting, however, was Kavanagh’s solo performance of her recently-completed Impressions, a short suite of two movements, each honoring a major figure from her knowledge of past guitar repertoire. The first of these was the English composer Malcolm Arnold. (As a personal aside, I should note that I was first exposed to Arnold’s guitar concerto while working at the campus radio station at the Massachusetts Institute of Technology, and I came to know this concerto well before my first encounter with Joaquin Rodrigo’s “Concierto de Aranjuez.”) The second was the Paraguayan guitarist and composer Agustín Barrios. This was highly personal music well served by the Kavanagh’s focused execution.

Stephen Smoliar