Nathan Berg’s career to date has encompassed a vast range of styles and repertoire and he is currently in demand by some of the world’s most distinguished conductors including Kurt Masur, Esa-Pekka Salonen, William Christie, Roger Norrington and Michael Tilson Thomas.
Highlights in the 2012/2013 season include his role debut as Doktor in Wozzeck with the Houston Symphony under Hans Graf, Sprecher in Stephen Metcalf’s production of Die Zauberflöte at the Palau de les Arts Reina Sofia under Ottavio Dantone, Haydn’s Die Schöpfung with the Orchestra of St. Luke’s under Harold Rosenbaum and Rachmaninov’s The Bells with the Philharmonia Orchestra under Vladimir Ashkenazy at the Three Choirs Festival. Nathan also continues his collaboration with John Nelson in Brahms’ Requiem with the Indianapolis Symphony and Bach’s Mass in B Minor with the Gulbenkian Orchestra. He also sings Bach’s St. John Passion with Music for the Baroque in Chicago under Jane Glover.
“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)