about nathan
Grammy, Juno and Echo Award winner Nathan Berg continues to captivate audiences around the world with his “oaken” (Financial Times), “solid, communicative” (New York Times), “dark-chocolate” (Vancouver Courier) “first-class voice” (Boston Globe) and as a “brilliant actor and a palpable presence on stage” (Financial Times). “A miracle of vocal ease and theatrical characterization” (ResMusica), “his technique is impeccable” (Opera News) and he possesses “a voice not only powerful and full of meaning, but of such velvet beauty” (The Times).
With a repertoire that widely encompasses music from five centuries and an expansive discography, his ever-evolving career continues to grow from strength to strength. Nathan begins and ends an exciting 23/24 season as Wotan in Wagner’s Das Rheingold and Die Walküre (role debut) at Theater Basel and he has further role debuts as Capulet (Gounod’s Roméo et Juliette) at the Metropolitan Opera and as Alcide (Lully’s Alceste) with Les Epopées in Paris and Vienna. Wagner’s Ring Cycle continues in the fall of ‘24 as Wotan in Siegfried (role debut).
Operatic highlights of recent seasons have been debuts at the Metropolitan Opera (Father in Aucoin’s Eurydice), the Bolshoi (Dutchman in Wagner’s Fliegender Hollander), Theatr Wielki (the title role in Bartok’s Bluebeard’s Castle, coproduction with the Met, in a new production by Mariusz Treliński), Beijing’s NCPA (Vodnik in Dvorak’s Rusalka), La Scala (Battistelli’s CO2), Bard (the title role in Rachmaninoff’s The Miserly Knight), Theater Basel (title role in Messiaen’s Saint François d’Assise), Salzburg Festival (King of Scotland in Handel’s Ariodante opposite Cecilia Bartoli) and Semperoper, Dresden (Zoroastro in Handel’s Orlando).
He has also travelled the globe extensively as a concert soloist with the majority of the world’s great orchestras.
JANUARY 2024
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Growing up a shy kid on the Canadian Prairies, Nathan found at a young age that performing and connecting with an audience brought him out of his shell. He found so much joy losing himself in the characters portrayed in songs that it was only natural that later Lieder and recitals would become his happy place with every song a window into an important moment of some fascinating character’s life. Songs helped form him as an actor and singing become just a acting tool.
“Singing ceased being a ‘thing’ on its own for me, it became simply one of the tools that I’d use to enhance my ability to better inhabit a character.”