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The American baritone, Dana Whiteside, began private vocal study at the Longy School of Music with Dorothea Brinkmann and went on to further studies at the New England Conservatory of Music under the tutelage of Susan Clickner (voice) and John Moriarty (opera), as well as work with Phyllis Curtin at the Tanglewood Music Center.
Dana Whiteside has appeared as soloist in numerous oratorio and orchestral orks including the Boston premiere of Kurt Weill’s The Prophets from The Eternal Road, and in J.S. Bach's Saint John Passion (BWV 245) and Mass in B Minor (BWV 232), as well as the Boston premiere of John Harbison’s Supper at Emaus with the Cantata Singers. In addition, he has appeared as soloist in Johannes Brahms’ Ein Deutsches Requiem, J.S. Bach’s Christ lag in Todesbanden (BWV 4), and George Frideric Handel’s Alexander’s Feast,, L.v. Beethoven’s Symphony No. 9 and Mass in C, Carl Orff’s Carmina Burana, Benjamin Britten's Cantata Misericordium, as well as Igor Stravinsky’s Pulcinella, and J.S. Bach’s Christmas Oratorio (BWV 248) and Cantata BWV 82 (Ich habe genug).
He has been recognized for his singing of “dignity and sensitive phrasing” (Boston Classical Review) and possessing “speaking voice as sonorous as his fine baritone” (Opera News), “noble and resonant throughout” (Washington Post). Roles in works for concert/stage have included Time in the Boston premiere of John Harbison’s Winter’s Tale with the Boston Modern Orchestra Project; and, with Emmanuel Music, the role of Carl Magus in Stephen Sondheim’s A Little Night Music.
An avid recitalist, Dana Whiteside has offered a wide range of programs. He’s appeared with Musicians of the Old Post Road as well as at Boston’s French Library/Société Française, and with the Florestan Recital Project. He has performed at the University of Oregon and Boston University in such offerings as Robert Schumann’s Liederkreis, Op. 39, Samuel Barber’s Despite & Still, L.v. Beethoven’s An die ferne Geliebte, John Musto’s Shadow of the Blues: Songs to Texts of Langston Hughes, Ernest Chausson’s Serres Chaudes, and Aaron Copland’s Songs on Texts of Emily Dickinson. Recent recitals have featured programs on themes of French Cabaret, the works of William Shakespeare, and songs inspired by the beauty of Venice.
Among the highlights of recent seasons were performances with Boston Baroque (Director: Martin Pearlman) in W.A. Mozart's The Magic Flute (Speaker) and Claudio Monteverdi’s Vespers of 1610; the role of Phoebus in J.S. Bach’s The Contest Between Phoebus and Pan (BWV 201) with Emmanuel Music; Carmina Burana with the Worcester Chorus at Mechanics Hall; the Verdi's Requiem with Nashoba Valley Chorale Society; Elijah’s Angel with the New England Philharmonic; and Ralph Vaughan Williams' Sea Symphony with the Washington Chorus at the Kennedy Center for the Performing Arts . |
