***METROPOLITAN OPERA DEBUT!!!***
NOVEMBER 23 (TO DECEMBER 16), 2021
“FATHER" IN MATTHEW AUCOIN’S NEW OPERA “EURYDICE”!!
LIVE IN CINEMAS AROUND THE WORLD DECEMBER 4, 2021
"Canadian Nathan Berg . . . revealed a rich, strong bass-baritone reminiscent of burnished mahogany.”(2018)-Bachtrack-
"Bass soloist Nathan Berg’s stentorian declamation opened the choral section dramatically, but he quickly demonstrated that he could also spin out a sumptuous legato line with equal success. And he enunciated every syllable of the German text with consummate clarity!”(2016)-San Diego Story-
"Nathan Berg makes a star turn, from beginning to end, as a grumpy and grizzled Alberich”(2016)-Twin Cities Arts Reader-
"Berg conveyed perfectly the dual nature of Alberich’s swagger and desperation. The scene in which he makes his curse on the ring was spine-tingling.” (2016) -Bachtrack-
"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.”(2016)-Twincities Pioneer Press-
"Nathan Berg’s Alberich, the tortured troll who trades love for world domination and whose final curse was the evening’s most compelling moment.”(2016)-StarTribune-
“And Nathan Berg (Alberich) and Richard Cox (Loge) were, to my mind, the heroes of the evening, creating complex, riveting characters—abused and abusive in Berg’s case, neurotic and sexually ambiguous in Cox’s—that made the 153-minute performance seem, if anything, too short.”(2016) -Opera News-
“But the show is anchored by Nathan Berg, emoting in equal parts sadism and tragedy, as the lovesick, power-hungry, gold-thieving dwarf.”(2016) -The Growler-
"Nathan Berg proved convincing as Pontius Pilate, his resonant bass voice filling the concert hall. . . Berg . . . sang with expressivity and refinement in solo arias throughout the work” (2015) -The Register Guard-
“. . . bass baritone Nathan Berg was superb as the desperate and furious Sam.” (2014)-The Gazette-
“Baritone Nathan Berg, as Pater ecstaticus, soared” (2014) -The Scotsman-
“We happily find once again the Huascar of Nathan Berg, an extra-ordinary actor, who transfigures his character, plying his resonant voice … the hymns to the sun become compliments to Phani.”(2014) -Forumopera-
“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"(2013) -Examiner-
“Nathan Berg, bass-baritone, sang the role of Elijah. He has an enormous voice and his diction was absolutely consistent and superb ... had seemingly infinite control over dynamics.”(2013) -OpusColorado-
“Nathan Berg’s muscular, earthy bass-baritone was ideal for Raphael and, in Part III, Adam.”(2012) -New York Times
“His large voice, his impeccable vocal production and his indisputable stage presence allow him to triumph on stage” (2012) -Classiqueinfo-
"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 huge and the vocal production solidly in place” - ClassiqueNews-
"It is to the music and to it alone that we are left, magnificently served by Nathan Berg, a Huascar of high class" -Anaclass-
"A miracle of vocal ease and theatrical characterization" -ResMusica-
"His musicality and verbal intelligence are as chiseled and polished as Louis XIV furniture" -Gazette-
"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-
“As Nathan Berg's Alidoro showed, you do not have to be Italian to be elegant and warmly expressive” -New York Times-
“He [Berg] has a purebred stallion of a voice, soft-grained, proud, true and eminently flexible, but above all, one of great beauty.” -The Gazette-
“Baritone Nathan Berg was in phenomenal voice, his velvety, honeyed baritone warmly expressive and dramatic, reminiscent of the great German baritone Hermann Prey" -Edmonton Journal-
"Nathan Berg’s oaken bass-baritone" -Financial times-
"Berg bestowed with an oaky bass voice" -Giorgia Straight-
"One of the freshest, most intelligently used voices I've heard in many moons" -The Indianapolis Star-
"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-
" 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-
"He has one of the richest and warmest baritones I've ever heard" -Vancouver Courier-
"A Canadian baritone, Nathan Berg by name, with a voice not only powerful and full of meaning, but of such velvet beauty that the comparison cannot be avoided: surely the young Fischer-Dieskau sounded like this" -Bernard Levin, The Times-
"Berg boasts a first-class bass voice, both plush and resonant” -The Boston Globe-
"The baritone Nathan Berg may be a Canadian, but he has the voice of a Russian. He knew dark, resonant horror in Lullaby as he sang of Death entering the room" -The Evening Standard-
“Bass-baritone Nathan Berg demonstrated his powers of vocal control in the opening number of Mahler's Kindertotenlieder in a performance notable for its restraint. Whilst rarely being called upon to exceed mezzo forte, there was nevertheless quite a range of dynamics here and some beautifully quiet singing"-Yorkshire Post-
“The dramatic Nathan Berg was a standout bass, providing clear diction and impressive volume in a part that can be a challenge for the soloist. He was a most welcome guest and one hopes he returns” -St. Louis Classical Music Examiner-
"Berg’s singing should give intense pleasure to any (Western) lover of the human voice" -Financial Times-
"Undoubtedly, one of the highlights of the performance was the superb singing of the Canadian Nathan Berg. His wide-ranging bass-baritone was a delight" -Belfast Telegraph-
"performed with smouldering magnificence"-The Sunday Telegraph-
"This tall, majestic bass is a brilliant actor and a palpable presence on stage"-Financial Times-
"Nathan Berg lent power and dignity to every episode in which he sang" -Ottawa Citizen-
“The baritone Nathan Berg cut a commanding figure and his forceful, powerful voice cut through the music like a blade” -The New York Feuilleton-
"uses his powerful presence (and voice) to wield appropriate magisterial authority" -Opera-
“very masculine, while the upper voice remains flexible and clear" -The Denver Post-
"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-
"Dark-chocolate voice" -Vancouver Courier-
"For smooth beauty of tone, the Canadian bass-baritone Nathan Berg . . . has no rival. . . In voice, looks and presence, he has every advantage" -Telegraph-
"Bass-baritone Nathan Berg, who resembles bearded Ringo Starr and whose singing was grand, grounded and riveting” - San Jose Mercury News-
"The timbre, tone and other vocal stylings of Nathan Berg were noticeably distinct…Berg's spacious, resonant bass” -Denver Post-