Dana Marsh has developed a broad-ranging career in the field of Historical Performance as an ensemble director, countertenor, organist and academic. His early training came as a boy chorister at St. Thomas Choir School in New York and at Salisbury Cathedral in England. He received his Bachelor of Music degree from the Eastman School of Music, with subsequent Masters and Doctoral degrees in Historical Musicology coming from the University of Oxford. Marsh has taught early-music history at both Oxford and Cambridge universities and has published articles through the scholarly presses of both institutions.
Guest-conducting appearances have brought Marsh into fruitful collaboration with numerous vocal and instrumental ensembles, including the London Mozart Players, Magnificat (UK), and Cappella Romana. He founded the British early-music group, Musica Humana Oxford (2001-2008), which performed frequently in the UK and toured to the US to high critical praise (“… pleasing to the ear and satisfying to the soul.” – LA Times). He also served as a Fellow and Director of Chapel Music at Girton College Cambridge. He has prepared ensembles of young singers for recording and concert projects under Esa-Pekka Salonen and Antonio Pappano with the Los Angeles Philharmonic.
Marsh has extensive experience as a consort singer and vocal soloist in the US and the UK. He has performed with the American Bach Soloists, the Musica Angelica Baroque Orchestra, the Concert Royal, the New York Collegium (under the late Gustav Leonhardt), with the lutenist James Tyler, the Choir of New College Oxford and the Academy of Ancient Music. A regular with the Choir of New College while undertaking his doctoral research at Oxford, he recorded 15 discs with that ensemble, one of which won the Gramophone Early Music award in 2008. He has recorded variously for Decca, Avie, Sony, Universal, Koch International Classics, Erato and Signum.
“He is an energetic and persuasive conductor, and he accomplished a welcome and never inappropriate athleticism in these performances.” Los Angeles Times
“… a powerful and expressive countertenor …” The New York Times