Nathan Berg
Bass-baritone

“This tall, majestic bass is a brilliant actor and a palpable presence on stage” (Financial Times)

Contacts

Ian Stones +44 (0)20 3725 9104
Clare Erskine +44 (0)20 3725 9145

Biography

Early in his career Nathan Berg established his name as an outstanding interpreter of baroque and pre-classical music, both in concert and opera. To this he soon added multiple Mozart operatic roles with performances around the globe. This season he makes his Salzburger Festspiele debut as the King in Christoph Loy’s new production of Ariodante, also on tour in concert to Monte Carlo.

In recent seasons Nathan has simultaneously moved towards the dramatic repertoire, adding the title role in Der fliegende Holländer in his Bolshoi Theatre debut, Alberich (Das Rheingold) with Seoul Philharmonic Orchestra under Myung-Whun Chung, Doktor (Wozzeck) with BBC Scottish Symphony Orchestra and Netherlands Radio Philharmonic Orchestra, and most recently Bluebeard (Bluebeard’s Castle) for Teatr Wielki and his role debut as Vodnik (Rusalka) for Beijing’s National Centre for the Performing Arts.

Early in his career Nathan Berg established his name as an outstanding interpreter of baroque and pre-classical music, both in concert and opera. To this he soon added multiple Mozart operatic roles with performances around the globe. This season he makes his Salzburger Festspiele debut as the King in Christoph Loy’s new production of Ariodante, also on tour in concert to Monte Carlo.

In recent seasons Nathan has simultaneously moved towards the dramatic repertoire, adding the title role in Der fliegende Holländer in his Bolshoi Theatre debut, Alberich (Das Rheingold) with Seoul Philharmonic Orchestra under Myung-Whun Chung, Doktor (Wozzeck) with BBC Scottish Symphony Orchestra and Netherlands Radio Philharmonic Orchestra, and most recently Bluebeard (Bluebeard’s Castle) for Teatr Wielki and his role debut as Vodnik (Rusalka) for Beijing’s National Centre for the Performing Arts. This season Nathan returns to the role of Alberich for Minnesota Opera, marking his stage debut in Das Rheingold, under Michael Christie.

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Contacts

Ian Stones +44 (0)20 3725 9104
Clare Erskine +44 (0)20 3725 9145

Reviews

“Nathan Berg makes a star turn, from beginning to end, as a grumpy and grizzled Alberich” (Twin Cities Arts Reader, Lydia Lunning, November 2016)

“A far more natural approach ... works especially well for Nathan Berg’s Alberich. As the dwarf who drives the story with his lust, greed and spite, Berg is complex, believable and of magnificent voice. So passionate is his portrayal that the usually scene-stealing Greer Grimsley is left to look on and exude nobility as his rival for the gold, the god Wotan.” (TwinCities Pioneer Press, Rob Hubbard, November 2016)

“Staufenbiel’s cast is strong. As he usually does, Greer Grimsley dominated the stage as Wotan, king of the gods. With his powerful baritone, Grimsley vividly charted the character’s obsessive but increasingly uncertain lust for power. The same could be said for Nathan Berg’s Alberich, the tortured troll who trades love for world domination and whose final curse was the evening’s most compelling moment.” (StarTribune, Michael Anthony, November 2016)

“Nathan Berg makes a star turn, from beginning to end, as a grumpy and grizzled Alberich” (Twin Cities Arts Reader, Lydia Lunning, November 2016)

“A far more natural approach ... works especially well for Nathan Berg’s Alberich. As the dwarf who drives the story with his lust, greed and spite, Berg is complex, believable and of magnificent voice. So passionate is his portrayal that the usually scene-stealing Greer Grimsley is left to look on and exude nobility as his rival for the gold, the god Wotan.” (TwinCities Pioneer Press, Rob Hubbard, November 2016)

“Staufenbiel’s cast is strong. As he usually does, Greer Grimsley dominated the stage as Wotan, king of the gods. With his powerful baritone, Grimsley vividly charted the character’s obsessive but increasingly uncertain lust for power. The same could be said for Nathan Berg’s Alberich, the tortured troll who trades love for world domination and whose final curse was the evening’s most compelling moment.” (StarTribune, Michael Anthony, November 2016)

“...bass baritone Nathan Berg was superb as the desperate and furious Sam.” (Lev Bratishenko, The Gazette, August 2014)

“Baritone Nathan Berg, as Pater ecstaticus, soared.” (Susan Nickalls, The Scotsman, June 2014)

“We happily find once again the Huascar of Nathan Berg, an extraordinary actor, who transfigures his character, plying his resonant voice... the hymns to the sun become compliments to Phani.” (Laurent Bury, Forumopera, February 2014)

“Baritone Nathan Berg looked and sounded the part and his singing had excellent presence and intensity.” (John Quinn, Seen and Heard International, July 2013)

“As the star Elijah, Nathan Berg sang with a ringing bass-baritone snarl, and gave his many recitatives fiery and passionate expression ... His final aria, in which Elijah gladly accepts his fate and death, was beautifully sung from start to finish.”
(Examiner.com, May 2013)

“Nathan Berg, bass-baritone, sang the role of Elijah. He has an enormous voice and his diction was absolutely consistent and superb…[he] had seemingly infinite control over dynamics.” 
(OpusColorado.com, May 2013)

“Nathan Berg’s muscular, earthy bass-baritone was ideal for Raphael and, in Part III, Adam [Haydn’s The Creation].” (Anthony Tommasini, The New York Times, December 2012)

“His large voice, his impeccable vocal production and his indisputable stage presence allow him to triumph on stage” (Classiqueinfo, May 2012)

“One must say that theatrically Nathan Berg as Huascar is of a brutality that terrorizes, and his voice seems immense. . . At the very top [of the soloists] the Huascar of baritone Nathan Berg is worthy of admiration for his incarnation which is nearly cinematic. The voice is large and the vocal production solidly in place.” (Classiquenews, May 2012)

“It is to the music and to it alone that we are left, magnificently served by Nathan Berg, a Huascar of high class” (Anaclase, May 2012)

“Even if he has - alas! - little to do in this work, Nathan Berg, who clearly has much practice with the role of Valens, offered a miracle of vocal ease and theatrical characterization.” (Theodora Enflamme l’Arsenal - ResMusica, March 2012)

“Among the outstanding soloists, Nathan Berg’s oaken bass-baritone suggested in the Tuba mirum that the Day of Judgement was at hand.” (Mozart:Requiem - Financial Times, February 2011)

“Berg produces a deep, rich bass sound, and yet, up higher, it's a gorgeous light baritone. He's very intelligent and expressive, easily and convincingly changing moods and characters . . . Diction, phrasing, tuning and ornaments are all top-notch, and he works with a range of colours and shades.” (Opera Canada, February 2009)

“Berg's assets are many. His technique is impeccable, and a byproduct of that is beautiful diction. He can differentiate the sound at will from brilliant to soft and at both extremes of his wide range... His articulation is utterly precise in even the smallest of turns or division notes.” (Opera News, February 2009)

“…the singer Nathan Berg is one of the best oratorio singers ever to have appeared in the Mann Auditorium. His voice has excellent resonance, is quite clear, and handles without difficulty even the lowest notes.” (HA’ARETZ, March 2009)

“Berg's deep, profound tonings are gorgeously virile and downright chilling in the more fearsome portrayals, yet, on occasions when more affection is called for, he can carry in that manliness a certain emotional restraint. This is a superb voice delivering both beauty and vigour” (The WholeNote, December 7, 2008)