Mussorgsky, Boris (*click here if above doesn't play*)

Recent Reviews

Elgar’s Dream of Gerontius, Melbourne Symphony / Sir Andrew Davis, conductor

"Canadian Nathan Berg, in the small dual roles of the priest and the Angel of the Agony, revealed a rich, strong bass-baritone reminiscent of burnished mahogany."

Sir Andrew Davis leads Elgar’s Gerontius in Melbourne

Patricia Maunder/ Bachtrack /09 March 2018

"Nathan Berg brought a full-bodied bass-baritone to the lines of the Priest and the Angel of the Agony at the work's climax."


Clive O'Connell / The Age /9 March 2018

"Canadian bass-baritone, Nathan Berg sang the dual role of the priest and the angel of agony with an impressive heft of vocal tone, growing in dramatic stature as the music progressed."


Tony Way / Limelight Magazine / March 11, 2018

"With his heavily smouldering bass-baritone full of distinguished character, Nathan Berg looked and sounded completely relaxed as the Priest & Angel of the Agony in The Dream of Gerontius with @MelbSymphony. A most enjoyable listen!"

Paul Selar/ @operachaser / March 8, 2018

Beethoven’s 9th Symphony, San Diego Symphony/ Edo De Waart conductor / "De Waart’s Triumphant Take on Beethoven’s Ninth Symphony"

"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!"

Ken Herman, San Diego Story / December 11, 2016 

Wagner’s Rheingold (Albreich), Minnesota Opera / Michael Christie conducting

“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.” 

Larry Fuchsberg, Opera News / Nov.12,2016 

“Greer Grimsley, renowned for his Wagnerian panache, is appropriately imposing and bellowing as Wotan should be. But the show is anchored by Nathan Berg, emoting in equal parts sadism and tragedy, as the lovesick, power-hungry, gold-thieving dwarf.” 

 John Garland, The Growler / Nov. 17, 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."

Rob Hubbard, TwinCities Pioneer Press/ Nov. 13, 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."

Michael Anthony, StarTribune/ Nov. 13, 2016

"Nathan Berg makes a star turn, from beginning to end, as a grumpy and grizzled Albrecht

Lydia Lunning, Twin Cities Arts Reader / Nov 15, 2016

“Nathan Berg sang the role of Alberich powerfully as well. Portraying a character with clear personality issues, in his interaction with the Rhinemaidens (Nadia Fayad, Mary Evelyn Hangley, Alexandra Raszkazoff), and later with Mime (Dennis Peterson) and Logo (Richard Cox), 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.”

Phillip Nones, Bachtrack / Nov 20, 2016 

"Against the twofold backdrop of historical and current darkness, the Alberich we get is not the one we expect. Played by Canadian bass-baritone Nathan Berg, the character who steps onstage is not small or stooped, not dirty or haggard. He strides onstage in a leather cape, carrying himself like an enterprising adventurer. He takes off his goggles; he takes the treasure without doubt or remorse. And his is the voice I will remember: a rich, dark baritone almost seductive in its smoothness. Alberich’s phrases are supposed to be stunted and choppy, a reminder to us that he doesn’t talk like the gods. But this Alberich aspires to sing like Wotan, and he succeeds."

The Curse Begins: Listening to Das Rheingold on Election Night 2016
Audrey J. Slote, / Nov 26, 2016

“...but it is Berg as Alberich who steals the spotlight. His is by far the strongest and most memorable performance of the evening. “

Kyle Kepulis, Bugaboo musings/ Nov 13, 2016

"And bass-baritone Nathan Berg as Alberich, whose resonant voice descends into depths beyond Nibelheim.

Pamela Espeland, Minnpost / Nov 15, 2016

Bach’s St. John Passion, Oregon Bach Festival / Helmuth Rilling, Conductor / "Bach’s ‘Passion’ continues festival’s strong choral voice"

"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"

Terry McQuilkin / The Register Guard / July 12,2015

Leonard Bernstein’s A Quiet Place / Kent Nagano, Conductor
"OSM’s Classical Spree a great way to discover music"

“. . . bass baritone Nathan Berg was superb as the desperate and furious Sam.”

Lev Bratishenko /The Gazette / Aug.17, 2014 

Mahler 8th Symphony (Pater Ecstaticus), Royal Scotish National Orchestra, Peter Oundjian Conducting/ “Classical Review, RSNO, Edinburgh"

“. . .baritone Nathan Berg as Pater ecstaticus, “soared””

 Susan Nickalls / The Scottsman / June 2, 2014

Rameau, Les Indes Galantes, Bordeaux / “Amour, gloire et laideur”

“We happily find once again the Huascar of Nathan Berg, an extra-ordinary actor, who transfigures his character, plying his resonant voice at the direction of Laura Scozzi, the hymns to the sun become compliments to Phani.”

“On retrouve avec bonheur le Huascar de Nathan Berg, acteur extraordinaire, qui transfigure son personnage, pliant sa voix sonore à la relecture de Laura Scozzi, les hymnes au soleil devenant des compliments à Phani.”

Laurent Bury / Forumopera / Feb 23, 2014 

Bach, Matthew Passion, Charlotte Symphony / "Jarrett shows his passion for ‘St. Matthew’"

“...with Jesus (dignified Nathan Berg)...”

By Lawrence Toppman / The Charlotte Observer / Nov. 23, 2013 

Rachmaninoff, The Bells, Philharmonia / "Vladimir Ashkenazy at the Three Choirs Festival"

“The most eloquent music is heard in the final movement, ‘The Mournful Iron Bells’. . . Baritone Nathan Berg looked and sounded the part and his singing had excellent presence and intensity.”

July 28, 2013 / Seen and Heard International /John Quinn

Rachmaninoff, The Bells, Philharmonia, Ashkenazy / "Three Choirs Festival: Ashkenazy/Pilharmonia Orchestra – Elgar,Sibelius,Rachmaninoff"

“...baritone Nathan Berg exuded charisma and melancholic intensity in equal measure.”

Aug 2,2013 / Wales Arts Review / Steph Power 

Mendelssohn's Elijah, Colorado Symphony / "The Colorado Symphony Orchestra and Chorus were superb with guest conductor Matthew Halls: Mendelssohn’s Elijah"

“Nathan Berg, bass-baritone, sang the role of Elijah. He has an enormous voice and his diction was absolutely consistent and superb ... Meg Bragle was the mezzo-soprano Friday evening ... she and Nathan Berg shared one outstanding characteristic: both of them have the ability to change the quality of their voice to emphasize the drama and the emotion of the particular verse they are singing. Both of them had seemingly infinite control over dynamics.” 

Robin McNeil / May 11, 2013 /

Mendelssohn's Elijah, Colorado Symphony / "CSO's Elijah"

“As the star Elijah, Nathan Berg sang with a ringing bass-baritone snarl, and gave his many recitatives fiery and passionate expression. His "Is not His word like a fire?" recalled Handel's "But who may abide the day of His coming" (from Messiah) and Berg clearly had fun with its angular vocal line and dramatic text. His final aria, in which Elijah gladly accepts his fate and death, was beautifully sung from start to finish, and showed a more peaceful side of his voice and interpretation, as paired with a gorgeous opening cello line ... Boy soprano Samuel Meyers appeared for his brief solo as the Youth, his innocent sound contrasting nicely with Berg's rumbling, dark bass.”

Ruth Carver/ May 11, 2013/

Haydn’s The Creation, at Carnegie Hall / "No Requiem for Earth, Only Celebration" 

“Nathan Berg’s muscular, earthy bass-baritone was ideal for Raphael and, in Part III, Adam.”

Anthony Tommasini/ December 24, 2012/ New York Times 

 Rameau: Les Indes Galantes, Capitole de Toulouse, Christophe Rousset, Laura Scozzi

L’option s’inscrit plus solidement dans ce travers avec Les Incas du Pérou et ses champs de coca… Fort heureusement, dans l’exaspération toujours croissante d’une scène poussée jusqu’au delà d’un affranchissement qui se tiendrait encore, les voix font merveille. C’est à la musique et à elle seule qu’on s’en remet, magnifiquement servie par Nathan Berg, Huascar de grande classe, par Cyril Auvity, Carlos délicatement nuancé à la présence convaincante, et par Helène Guilmette, toujours, Phani idéale."

"The option works more solidly in this case with The Incas of Peru and it's coca fields... Fortunately, in the ever-growing frustration of a scene that once again takes much liberty, the voices are a marvel. It is to the music and to it alone that we are left, magnificently served by Nathan Berg, a Huascar of high class, by Cyril Auvity, Carlos delicately nuanced with a convincing presence, and by Helène Guilmette, always the ideal Phani.

Bertrand Bolognesi, Anaclase, 4 May, 2012

"Il faut dire que théâtralement Nathan Berg en Huascar est d’une brutalité qui terrorise, et sa voix paraît immense. . .  Tout en haut le Huascar du baryton Nathan Berg est digne d’admiration pour son incarnation qui est quasi cinématographique. La voix est grande et les vocalises bien en place."

     “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.”

Hubert Stoecklin,  Classiquenews, Sunday, 6 May, 2012 

“Sa voix large, ses vocalises impeccables, sa présence scénique indiscutable lui permettent de triompher sur scène.”

“His large voice, his impeccable vocal production and his indisputable stage presence allow him to triumph on stage”

Jean-Charles Jobart, Classiqueinfo, 23 May, 2012

Haendel: Theodora, Concert Spirituel, Hervé Niquet

“Même s’il a – hélas ! – peu à faire dans cet ouvrage, Nathan Berg, qui manifestement a beaucoup pratiqué le rôle de Valens, propose un miracle d’aisance vocale et de caractérisation théâtrale.”

"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."

Pierre Degott, ResMusica, 14/3/2012, THEODORA ENFLAMME L’ARSENAL (‘Theodora ignites the Arsenal’), Metz. Arsenal

Songs of Schubert, Schumann, Brahms and Strauss.

(exerpts from review)

"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"

"This CD would be worth purchasing only to hear Nathan Berg and Julius Drake's perfomance of "Der Erlkönig." Berg is a superb vocal character actor..."

"His articulation is utterly precise in even the smallest of turns or division notes. An entire world seems to live in his "o" vowel ..."

"Berg can sing deliciously long, spinning lines when he wants, with a seemingly limitless supply of breath. "

Opera News  February 2009

-read full review of above-

"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 in Schubert's "Der Tod und das Madehen" and the famous "Der Erlkonig". The latter is nicely characterized between the narrator, boy, father and Erlking, but Berg maintains the intimate lieder quality without making it operatic, as is somtimes the case with younger singers. Diction, phrasing, tuning and ornaments are all top-notch, and he works with a range of colours and shades. The selections by Schubert have a suitable early-Romantic restlesness, while the later songs by Brahms and Strauss are given more depth-of sound and character."

Rick Phillips - Opera Canada , February 1, 2009

"At any rate Schubert's gift for story telling, Schumann's tenderness, Brahms' dark resignation to fate and Strauss' soothing dreamscapes are skilfully delivered in this excellent recording. 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 to a richly crafted program."

Diane Welles - The WholeNote, December 7, 2008

"...Les six lieder de Schubert conviennent bien à Nathan Berg; le baryton-basse trouve la variété de timbre voulue pour représenter le narrateur et les trois protagonistes de Erlkönig, sans doute la piste la plus mémorable de ce CD."

Alexandre Lazaridès, La Scena Musicale, November 1, 2008


DVD - La Cenerentola - Glyndebourne Festival 2005

"Nathan Berg's Alidoro uses his powerful presence (and voice) to wield appropriate magisterial authority."

Opera, April 2006

More Recent Reviews

Mozart Requiem: San Francisco Symphony Orchestra

“bass-baritone Nathan Berg... whose singing was grand, grounded and riveting.”

(FULL; "bass-baritone Nathan Berg, who resembles bearded Ringo Starr and whose singing was grand, grounded and riveting.")

Michael Tilson Thomas links Mark Rothko to Mozart's Requiem in inspired S.F. Symphony programme.

Richard Scheinin, San Jose Mercury News,24th February 2011

“Among the outstanding soloists, Nathan Berg’s oaken bass-baritone suggested in the Tuba mirum that the Day of Judgement was at hand.”

Allan Ulrich, The Financial Times, February 24 2011

Beethoven 9th

"The fact that bass soloist Nathan Berg got through the piece without barking put him ahead of many predecessors."

Beethoven, Stravinsky: Uneasy duo, David Patrick Stearns,Philadelphia Inquirer/Sat, May. 21, 2011

John Passion

”Memorable among the singers interrupting action to sum up the mood were Nathan Berg and Nicholas Phan, excelling at gentleness and sweetness, respectively.”

CSO's ‘St. John Passion' gains clarity but loses color,Alan G. Artner, Chicago Tribune/March 15, 2010

Giulio Cesare: Paris

“Nathan Berg is also perfect as Achilla,”

Pierre Degott,,23rd January 2011

Orlando: Opéra de Lille

“Nathan Berg’s elegant Zoroastro” 

Francis Carlin, The Financial Times, 11th October 2010

“Of the cast, we note the excellent Nathan Berg (Zoroastro)” 

Jean-Marie Duhamel, La Voix du Nord, 12th October 2010

Beethoven: Missa Solemnis

“Berg’s solo at the beginning of the Agnus Dei was particularly pleasing.”

Richard Todd, The Ottawa Citizen, 10th February 2010

"The timbre, tone and other vocal stylings of Nathan Berg were noticeably distinct…Berg's spacious, resonant bass…Particularly memorable was the familiar, "Dies irae,”’

Sabine Kortals, Denver Post, 4th April 2009

St. Matthew Passion

“Bass-baritone Nathan Berg, performing cameo roles of the High Priest and Peter in addition to the traditional bass, brought uncommon verve and energy to his various contributions. His delivery on the Mache dich aria -- one of the most sublime musical expressions in the Western canon -- was heartfelt and fresh.”

Stephen Preece, The Record Kitchener,13th April 2009

Haydn: The Creation – The Israel Philharmonic Orchestra

“…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.”

Hagai Hitron, HA’ARETZ, 16/03/2009

Haydn: The Creation, St. Paul Chamber Orchestra

”The soloists were also in fine voice, particularly bass-baritone Nathan Berg. He's made a specialty of this work, and it showed, from the tender opening words of "In the beginning" to some ground-shaking (and piercingly clear) low notes to the final affectionate words of Adam.”

Rob Hubbard, Pioneer Press, 19th February 2009


”The fine bass-baritone Nathan Berg, as Raphael, performed as scheduled, singing with mellow sound and calm authority.”

Anthony Tommasini, New York Times, 15th February 2009

Handel: Messiah

“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.”

Bille Townsend, St. Louis Classical Music Examiner, 12th December 2009

Mendelssohn’s Elijah, Toronto Mendelssohn Choir ,Massey Hall

"Bass-baritone Nathan Berg was a magnificent Elijah who took real chances pushes his commanding voice through an emotional rollercoaster. He fully invested himself in the role which meant we were taken on a wonderful musical journey."

Paula Citron,  Classical 96.3 FM, 5 Dec. 2009

Puccini: La bohéme

“The charmer of the production was Nathan Berg. His Marcello had range. In the horseplay scenes of Acts I and IV, he contributed a nice, boyish feel, but in Act II, he entertainingly generated a sulky-bitter dynamic in the face of Musetta's teasing. In Act III, he was a convincingly angry man--all the while producing resonant singing that kept his character interesting to listen to as well as watch.”

Bill Rankin, Opera Canada, 1st May 2006


St. John Passion

"Memorable among the singers interrupting action to sum up the mood were Nathan Berg and Nicholas Phan, excelling at gentleness and sweetness, respectively."

Chicago Tribune,March 15, 2010

Moussorgski, Songs and Dances of Death

"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, Feb 8, 2002 (Philharmonia Orchestra, Maestro Essa-Pekka Salonen)

"performed with smouldering magnificence by Nathan Berg"

The Sunday Telegraph, Feb 10, 2002 (Philharmonia Orchestra, Maestro Essa-Pekka Salonen)

"In the Queen Elizabeth Hall on Thursday Nathan Berg sang Mussorgsky's Songs and Dances of Death penetratingly and in delectably gutteral Russian"

The Financial Times, Feb 13 2002 (Philharmonia Orchestra, Maestro Essa-Pekka Salonen) 


“Bass Nathan Berg sang the all-important role of Elijah. He had just the right darkness of voice to suggest the sternness of the prophet combined with a certain liveliness of expression.”

Richard Todd, The Ottawa Citizen, May 8, 2008

Bluebeard, Bartok

“Le Barbe-bleue de Nathan Berg passe entierement dans cette voix sombre, penetrante, implacable"

(The Bluebeard of Nathan Berg entirely passes in this dark voice, penetrating, relentless)

Claude Gingras, La Presse,  April 10 2003 (Montreal Symphony, Maestro Stefan Lano) 

Thesée - Théatre des Champs-Elysées, Paris

“Nathan Berg brought a quality voice to the semi-serious roles [of Mars and Arcas]. ”

Opera, April 2008

The Creation

“Bass Nathan Berg intoned the music of Raphael and Adam with dark authority.”

Lawrence A. Johnson, The Miami Herald, Nov 10, 2007

Verdi Requiem

“Nathan Berg lent power and dignity to every episode in which he sang.”

Richard Todd, Ottawa Citizen, Jun 1, 2007

" Berg's spacious, resonant bass "

Sabine Kortals, The Denver Post, 04/04/2009

Beethoven Missa Solemnis

“Soprano Laura Whalen, mezzo-soprano Anita Krause, tenor Richard Clement and bass Nathan Berg were a well-matched quartet of soloists. Missa Solemnis is not the kind of work with a lot of extended vocal solos, so it was especially fortunate that these four sang so well together. They also balanced well between the chorus and the orchestra. Berg’s solo at the beginning of the Agnus Dei was particularly pleasing.”

NACO handles big Beethoven challenge with aplomb


Der Fliegende Holländer

“Baritone Nathan Berg brought believability to [his] improbable role as the eternally wandering sea captain. It can't be easy to hold listeners' attention while standing rooted to one spot for much of the opera, but Berg pulled it off with keen musical and dramatic focus. Berg's vocally secure performance suggested not only the world-weariness that would come from decades, if not centuries, roaming the seas, but also a depth of poise and gravity that made even his quietest utterances compelling.”

Catherine Reese Newton, The Salt Lake Tribune, Oct 15, 2007

“In the title role is baritone Nathan Berg. He has a wonderfully lyrical voice.”

Edward Reichel, Deseret Morning News, Oct 14, 2007

Giulio Cesare, Glyndebourne Festival, August 2006

"Nathan Berg's Achilla catches the right mix of bluster, duplicity and compassion."

Andrew Clements, The Guardian, 7 August, 2006

"...there are excellent performances from Nathan Berg’s Achillas - sure-toned, physically striking and brutal in his lust for Cornelia..."

Edward Bhesania, The Stage, 9 August, 2006

“... brute machismo of Achilla (Nathan Berg)...”

Anna Picard, The Independent, 13 August 2006

" can smell the danger in Nathan Berg's Achilla."

Geoff Brown, The Times, 18 August, 2006

Hercules, Handel, Netherlands Opera

"een krachtvolle Hercules"

('a powerful Hercules')

Algemeen Dagblad, Apr 23, 2007

"een bulderende Hercules van Nathan Berg" 

('a thundering Hercules from Nathan Berg')

Trouw, Apr 19, 2007

"die Sterbescene von Hercules in der Interpretation von Nathan Berg (' I rage with more than Stygian pains') sind grosse Klasse.  Die lauwarm aufgewärmte Inszenierung aus Aix ist es sicherlich nicht"

('Hercules' death scene in the interpretation of Nathan Berg ('I rage with more than Stygian pains') is high class. A lukewarm warmed up production from Aix is it certainly not'), Apr 18, 2007

La Cenerentola, Glyndebourne Festival 2005

“But, as Nathan Berg's Alidoro showed, you do not have to be Italian to be elegant and warmly expressive.”

Paul Griffiths, New York Times, May 24, 2005

“The character of the philosopher Alidoro - a commanding Nathan Berg - is literally given the moral authority of centre stage. He addresses us directly, as do all the characters. We are far from passive participants in this "pantomime".'

Edward Seckerson, The Independent, May 23, 2005

“Nathan Berg's Alidoro and Simone Alberghini's Dandini are both superb.”

Anthony Holden, The Observer, May 22, 2005

“The most interesting characters also receive the most satisfying performances - Nathan Berg is contained and slightly mysterious as Alidoro and Simone Alberghini's Dandini is detached yet controlling.”

Andrew Clements, The Guardian, May 21, 2005

“Nathan Berg turns Alidoro into an operatic Prospero and sings with even authority.”

Andrew Clark, Financial Times, May 21, 2005

"L'excellent baryton-basse Nathan Berg, un habitue de Mozart et de musique baroque, campe un Alidoro hiératique"

Jean Lucas, Luzemburger Wort, July 7, 2005

"Nathan Berg played Alidoro as a serious, rather fierce don, one who knew his pupil needed a lot of guidance . . . Berg sang the role very powerfully and precisely"

Rodney Milnes, Opera July, 2005

"Nathan Berg's sonorous Alidoro"

David Blewitt, The stage, June 30, 2005

"Nathan Berg provided a decent presence and firm tone as Alidoro"

Michael Tanner, Spectator, June 4, 2005

"Nathan Berg gives gravity to the role of Alidoro"

Russell Levinson, Sussex Express, May 27, 2005

"the baritone Nathan Berg brought firm tone and strone delivery to Alidoro, the equivalnt of Perrault's Fairy Godmother"

Michael Kennedy, Sunday Telegraph, May 11, 2005

"Nathan Berg's Alidoro and Simone Alberghini's Dandini were richly characterful.

Fiona Maddocks, Evening Standard May 20, 2005


"de rol van figaro wordt gezongen door de fenomenale bas nathan berg en zijn beeldschone bruid susanna krijgt gestalte door de sopraan t e. Beiden houden een bewonderenswaardige control over hun stem- of zij nu rennen, dansen of op de grond te liggen"

("the role of figaro is sung by the phoenomenal bass Nathan Berg and his beautiful bride susanna is played by soprano Rebecca Evans. Both keep admirable control over their voices - whether running, dancing or lying on the ground")

De Telegraaf, Jan 18, 2001 (Netherlands Opera, Edo de Waart)

Leporello, Don Giovanni

“Nathan Berg brought a sturdy bass voice and delightful comic timing to the role of Giovanni's put-upon, scene-stealing servant Leporello, especially in his tour-de-force "cataloque aria," listing the Don's 2000-plus conquests.”

Diane Windeler, San Antonio Express News, Oct 2006

“The Canadian singer Nathan Berg was a very solid Giovanni, bringing his hefty yet dexterous bass-baritone to the role of everyone's favorite debauched nobleman. He was at his most persuasively seductive in moments of suave understatement, when he would just sit back and reel in his fresh catch, like the innocent Zerlina…”

Jeremy Eichler, Boston Globe, Oct 14, 2006

“Nathan Berg, as Don Giovanni, did the major work with aplomb…”

Keith Powers, Boston Herald, Oct 14, 2006

“Nathan Berg, playing Leporello in all performances, earned prolonged ovations with a big, hearty voice, endless energy, and comic style that made it look easy.”

David Mead, Austin American-Statesman, May 1, 2006

“Nathan Berg brought a sturdy bass voice and delightful comic timing to the role of Giovanni's put-upon, scene-stealing servant Leporello, especially in his tour-de-force "cataloque aria," listing the Don's 2000-plus conquests.”

Diane Windeler, San Antonio Express, Apr 30, 2006

“Berg was a beguiling buffo as Giovanni’s often-betrayed butler.”

AP Arts & Entertainment Review, Mar 11, 2002

"this tall majestic bass is a brilliant actor and a palpable presence on stage"

Financial Times, June 4, 2001

"The best performances came from . . . the Canadian bass Nathan Berg as Leporello"

The Guardian, June 2, 2001

"Nathan Berg's twitching junky Leporello is a brilliantly observed portait of collapse”

Martin Hoyle, Financial Times (?), June 2001

“Berg boasts a first-class bass voice, both plush and resonant.”

The Boston Globe, Apr 26, 1997

Marcello, La Bohème

“The charmer of the production was Edmonton-area bass-baritone Nathan Berg, in his second Edmonton Opera engagement. His Marcello had range. In the horseplay scenes of Acts I and IV, he contributed a nice, boyish feel, but in Act II, he entertainingly generated a sulky-bitter dynamic in the face of Musetta's teasing. In Act III, he was a convincingly angry man--all the while producing resonant singing that kept his character interesting to listen to as well as watch.”

Bill Rankin, Opera Canada, May 1, 2006

“Nathan Berg, on the other hand, has stage charisma to spare as Marcello. Berg has an excellent operatic bass voice, and he looks comfortable in his role as the volatile painter, on-again-off-again lover of the flamboyant Musetta. In Act 2, his brooding and exasperation at Musetta’s flirtations have just enough melodrama to get the array of emotions across without falling into hamminess. In his spat with Musetta in Act 3, which has a nice pace, Berg goes a step beyond into anger, and he finds those emotional notes convincingly. He’s known around here as an oratorio and recital singer. Opera is obviously his strength, as well.”

Bill Rankin, EdmontonJournal, Mar 20, 2006

Coline, La Bohème

“Bass Nathan Berg as the philosopher Colline delivered a last-act adieu to his overcoat that was moving and elegantly phrased"

Vancouver Courier, May 7, 2003

"Berg bestowed with an oaky bass voice"

Giorgia Straight, May 8, 2003

Haydn: The Creation, St Louis Symphony

"Bass Nathan Berg sang Raphael, the unofficial evangelist who keeps the work moving. Berg has a resonant, warm voice that dipped easily into the low-lying passages of the role. He was also the most dramatically effective of the soloists"

St. Louis Post-Dispatch, Feb 18, 1996

Haydn: The Creation, Orchestra of St. Luke's

" the big role of Raphael, his narration was confident, richly voiced and animated. Both Berg and [Dominique] Labelle are oratorio singers of the first water, and they deserve to be heard more often in Canada."

La Scena Musicale,Phillip Anson, Feb, 1998

Haydn: The Creation, Ulster Orchestra

"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 in solos"

Belfast Telegraph, Mar 14, 1994

Mozart Mass in C Major

“…bass-baritone Nathan Berg, enhanced the ‘Credo’ with a reflective ‘Et incarnatus est’ (‘And was incarnate’) and an exultant ‘Et in Spiritum Sanctum’ (‘And in the Holy Ghost’) and rejoiced in an operatic-sounding ‘Benedictus.’"

Bruce-Michael Gelbert,, Jan 28, 2006

Mozart Requiem

“The baritone Nathan Berg cut a commanding figure and his forceful, powerful voice cut through the music like a blade.”

A.J. Goldman, The New York Feuilleton, Nov 3, 2005

" Un quatuor de solistes completait le tableau. Parmi eux se distingue le baryton-basse Nathan Berg, dont il faut souligner la qualite et la nettete du timbre. Avec lui, tous les details melodiques gardent leur clarte, notamment le chromatisme du Tuba Mirum

Le Soleil, Oct 25, 2004

Carmina Burana

“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

Guglielmo, Così Fan Tutte

“…Nathan Berg’s impressively sung Guglielmo, Berg’s smoky, large baritone being used to full effect.”

Review Vancouver, Mar 19, 2005 (Vancouver Opera)

“Nathan Berg holds up well with his dark-chocolate voice, a nice counterpoint to the buffoon he plays.”

Vancouver Courier, Mar 16, 2005 (Vancouver Opera)

"He has one of the richest and warmest baritones I've ever heard"

Edmonton Sun,Feb 26, 2001(Edmonton Opera)

"Both . . . Nathan Berg (Guglielmo) and Benjamin Butterfield (Ferrando) are comic delights here"

Edmonton Journal,Feb 27, 2001(Edmonton Opera)

“The flexibility of the Canadian Nathan Berg's rich baritone made him ideal for the swifly changing moods of Guglielmo when betrayal loomed”

Opera, July, 1995 (Welsh National Opera)

"Nathan Berg was a dashing and alluring Guglielmo in every way”

Opera Now, July, 1995 (Welsh National Opera)

Handel’s Rinaldo

“Argante, was . . . the tremendous Nathan Berg, a brilliantly noisy bully who stayed within the margins of taste”

The Spectator, Nov27, 1999 (Barbican)

Handel’s Messiah

“I was working with him [Berg] a few days ago, and was amazed at all the colours in his voice. And he can do a real trill, too.”

The Edmonton Sun, Dec 18, 2004

“Berg has a powerful, deeply resonant low register and a strong, clear upper range, all of which he tapped in his several solo sections. His “The Trumpet Shall Sound” was a highlight of the evening.”

The Edmonton Journal, Dec11, 2004

Belshazzar’s Feast

“Bass-baritone Nathan berg’s rich, strong tones made easy work of the story-telling interludes [in William Walton’s Belshazzar’s Feast].”

The Herald, Aug 16, 2004

In Recital

“If baritone Nathan Berg always sings as well as he did Friday evening at the Glenn Gould Studio, then it would be good to welcome him to Toronto more often . . . Berg matched the delicacy of these works [Mendelssohn songs] with an easy, vibrant tone and a supple line.”

TorontoStar, Feb 27, 2000

“Karneus and Berg spun their tales with charm and conviction. Nathan Berg really seemed to be the pompous monarch who regards himself as master of the world, as well as the lover passionately wishing to be united with his dear one “on a better star” in Andenken.”

The Herald, Aug 18, 1999

“They [Katarina Karneus and Nathan Berg] duly coloured and characterised, displaying the requisite wit and emotional understanding, and we were duly grateful.”

The London Times, Aug 19, 1998

“Berg boasts a first-class bass voice, both plush and resonant.”

The Boston Globe, Apr 26, 1997

“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, Apr 3, 1997

-read full review of above-

"one of the freshest, most intelligently used voices I've heard in many moons"

Charles Staff, The Indianapolis Star, Jan 27, 1996

"Nathan Berg weilds . . . a remarkably beautiful baritone voice . . . a richly 'natural' timbre: vital , warm-blooded, affecting and stirring. . . The flory of his true baritone lies now in his middle voice, plangent and splendidly direct, with a solid, satisfying complement toward the bass end."

The Financial Times, Apr 13, 1994 (Wigmore Hall, London)

"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, Sept 26, 1991

"boasts a richly 'natural' timbre: vital, warm-blooded, affecting and stirring . . . Berg's singing should give intense pleasure to any (Western) lover of the human voice . . . The glory of his true baritone lies now in his middle voice, plangent and spledidly direct, with a solid, satisfying copmlement toward the bass end"

David Murray, Financial Times, April 13, 1994

 "There was a Canadian bass-baritone, Nathan Berg, whose vocal beauty compared with the young Fischer-Dieskau"

Michael White, Guardian, September, 1991

"For smooth beauty of tone, the Canadian bass-baritone Nathan Berg . . . has no rival. . . In voice, looks and presence, he has every advantage. "

Michael Kennedy, Telegraph, Sept, 1991 

Mahler Songs with Orchestra

"The baritone Nathan Berg sang not only with great power and poise, but also brought to each of the songs intelligence and understanding so that the meaning shone"

Evening Mail, Apr 18, 2002, (City of Birmingham Symphony Orchestra, Symphony Hall/ Knaben Wunderhorn)

"The strong and forthright baritone of Nathan Berg, meanwhile, was always allowed to make its mark. Berg's determination to tell it as it is, and not to impose any unnecessary interpretative detail, was well rewarded"

Guardian, Apr 19, 2002, (City of Birmingham Symphony Orchestra,Symphony Hall/ Knaben Wunderhorn)

"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, Oct 15, 1995, (Sofia Philharmonic, Kindertotenlieder)

Bach Mass in B minor

“Tenor Mark Tucker and bass Nathan Berg, sinewy-voiced singers both, crackled with rhythmic alertness; they engaged with the text. Little rescue acts such as theirs were taking place all through the evening.”

The Boston Globe, May 15, 1999

Vaughan Williams, Sea Symphony

“sang very impressively . . . was powerful without effort”

Vanvouver Sun, Feb16, 1998

Brahms Requiem

"the baritone soloist has the lion's share of the solo work, and Berg acquitted himself splendidly. A consummate artist in lieder, oratorio, and opera, Berg's gorgeous baritone is capable of a variety of colours, which he put to good use here. His familiarity of the work – having sung it a dozen times in recent seasons – allowed him the freedom to concentrate on interpretation."

Joseph So, Scena Musicale, July 10, 2002, Toronto Symphony Orchestra, Gunther Herbig, conductor,Adrianne Pieczonka, soprano

“Nathan Berg, the baritone soloist, gave a solid, communicative reading.”

The New York Times, Jun 20, 1996

“very masculine, while the upper voice remains flexible and clear"

The Denver Post, March 17, 2000

Faure Requiem

“baritone Nathan Berg's refined and beautifully presented voice was perfect for the scale of the work"

Tom Collins, The Irish Times, June 14, 1993

Hippolyte et Aricie

“All the bass roles (Pluto, Jupiter and Neptune) were sonorously sung by Nathan Berg.”

The Wall Street Journal, Sep 27, 1996

“Berg’s singing should give intense pleasure to any (Western) lover of the human voice.”

Financial Times, Apr 13, 1994

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