Dr. Dana Lynne Varga is a sought-after soprano, voice teacher and career coach, as well as the Founder and Artistic Director of MassOpera. Dana regularly presents vocal master classes as well as entrepreneurship lectures for musicians all over the east coast, and publishes articles frequently in Classical Singer Magazine.
An avid concert soloist, Dana made her Carnegie Hall debut last year performing Haydn’s Lord Nelson Mass with Mid-America Productions. Her recent performances have included Beethoven’s Missa Solemnis with the Cantata Singers (Jordan Hall), Mozart’s Mass in C Minor and Vivaldi Gloria with Coro Allegro (Sanders Theatre), Beethoven’s 9th Symphony with the Wellesley Symphony Orchestra and Haydn’s Creation with the Andover Choral Society.
Additional past highlights include the Fauré Requiem and Neilsen’s Symphony No. 3 with the Springfield Symphony, the Brahms Requiem with the Polymnia Choral Society, Amy Beach’s Mass and Handel’s Israel in Egypt with the Commonwealth Chorale, Bach ’s B Minor Mass and Christmas Oratorio with the Rhode Island Civic Chorale and Orchestra, Vaughan Williams’ Sea Symphony with the Metropolitan Chorale and Beethoven’s Mass in C at Tanglewood (Ozawa Hall). Dana performs Handel’s Messiah regularly with dozens of organizations across the northeast.
Dana has amassed accolades for her numerous operatic roles, most recently receiving rave reviews as Pallas Athene in Gluck’s Paride ed Elena with Odyssey Opera. Past roles performed have included Musetta in La bohème, Fiordiligi in Cosi fan tutte, Anna Maurrant in Street Scene, Rosalinda in Die Fledermaus, Micaëla in Carmen, Alcina in Alcina, Hanna Glawari in The Merry Widow and First Lady in The Magic Flute. She has performed with Boston Lyric Opera, Odyssey Opera, PORTopera, Opera Boston, Boston Opera Collaborative, PANopera, Connecticut Lyric Opera, Commonwealth Opera, Boston Baroque, the Aldeburgh (Britten-Pears) Festival and Teatro Nuovo.
My approach to teaching is based on freeing the voice using a combination of vocal function exercises, overall technique work and body tension release. Breath, support and vocal tract shaping are complex and require a highly individualized approach. I do not believe that one approach can be applied to all students, and easily tailor my instruction to the individual singer.
I’ve been greatly influenced by the works of major pedagogues of the bel canto school, including Garcia, Vaccai and Marchesi. I have studied vocal pedagogy at length and pull both scientific and holistic teaching techniques from my study.
I attended the Naked Voice Pedagogy Institute in 2014 and 2017, where I met W. Stephen Smith, author of The Naked Voice. His philosophies have greatly informed my methodology. I also attended the Acoustic Vocal Pedagogy Workshop in 2017 in order to hone my knowledge of voice science.
I have an intense love and passion for teaching voice and encouraging young singers, and believe that together we can find a freer way of singing and a more beautiful, resonant sound.