Dana Whiteside

Baritone Dana Whiteside has appeared as soloist in numerous oratorio and orchestral works  including the Boston premiere of Kurt Weill’s “The Prophets” from The Eternal Road, and in the Bach “Saint John Passion” and “Mass in B Minor,” 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 Brahms’ “Ein  Deutsches Requiem”, Bach’s “Christ lag in Todesbanden,” and Handel’s “Alexander’s  Feast,”,Beethoven’s Ninth Symphony and Mass in C, Carl Orff’s “Carmina Burana,” Benjamin Britten’s  “Cantata Misericordium,” as well as Stravinsky’s “Pulcinella”, and Bach’s Christmas Oratorio and Cantata  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.”

Mr. 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.

An avid recitalist, Mr. 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 Schumann’s “Liederkreis,” op. 39, Samuel Barber’s “Despite & Still,” 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 in “The Magic  Flute” (Speaker) and Claudio Monteverdi’s “Vespers of 1610”; the role of Phoebus in Bach’s “The Contest  Between Phoebus and Pan” with Emmanuel Music; “Carmina Burana” with the Worcester Chorus at  Mechanics Hall; the Verdi Requiem with Nashoba Valley Chorale Society; “Elijah’s Angel” with the New England Philharmonic; and Ralph Vaughan Willams “Sea Symphony” with the Washington Chorus at the Kennedy Center for the Performing Arts .