Nathan Berg performs regularly with many of the world’s top opera companies and most of the world’s major symphony orchestras including Chicago, New York, Berlin, Cleveland, Concertgebouw, Budapest Festival, Houston, Philadelphia and San Francisco as well as with period groups such as Les Arts Florissants and The Orchestra of the Age of Enlightenment under the batons of many distinguished conductors including Abbado, Ashkenazy, Boulez, Christie, Davis, Dohnanyi, Dutoit, Eschenbach, Mackerras, Masur, Maazel, Norrington, Ozawa, Rilling, Salonen, Slatkin, Tilson-Thomas and Welser-Möst.

Acclaimed as theatrically “cinematic” (ClassiqueNews, 2012) with “indisputable stage presence” (ClassiqueInfo, 2012) and “impeccable” technique (Opera News) Canadian bass-baritone, Nathan Berg has had a wide ranging career alternating from his love of song to concert and opera in a vast range of styles and time periods. In recital he has appeared at the Wigmore Hall in London, Lincoln Center in New York and many other prestigious venues around the world with pianists such as Graham Johnson, Julius Drake, Roger Vignoles and Martin Katz. Much of Mr. Berg’s early work in concert and opera concentrated largely on the Baroque and Classical with many collaborations with groups such as William Christie’s Les Arts Florissants. He has since delved in Romantic and later with recent debuts as Wagner’s Dutchman, Puccini’s Scarpia and Bartok’s Bluebeard.

An in-demand, “first-class” (Boston Globe) and versatile bass-baritone he has appeared in roles ranging from Mozart’s Figaro, Leporello, Don Giovanni and Guglielmo, Puccini’s Scarpia, Marcello, Coline, Wagner’s Dutchman, Verdi’s Ferrando, Rossini’s Alidoro, Rameau’s Huascar and numerous Handel roles in such places as Glyndebourne, Paris National Opera, Netherlands Opera, La Monnai, New York City Opera, English National Opera, Welsh National Opera, Trieste and Bavarian State Opera to name just a few.

A three-time Grammy nominated and Juno Award winning artist, some recording highlights include numerous cds with Les Arts Florissants including Messiah and the Mozart Requiem, various song recordings including songs by Othmar Schoeck and a Lieder Recital recording with Julius Drake, Dvorak’s Stabat Mater with the Atlanta Symphony and Robert Shaw, and recent DVD releases of Lully’s Armide (Theatre des Champs-Elysees) and Rossini’s Cenerentola (Glyndebourne). Highlights from his 2011/2012 seasons included Scarpia (Tosca) with Edmonton Opera, Beethoven’s 9th Symphony with the Atlanta Symphony, Houston Symphony and San Fransisco Symphony, Dvorak Te Deum with Cleveland Symphony, Huascar in Les Indes Galantes with Théâtre Capitole; Valens in Handel’s Théodora with Le Concert Spirituel and his debut with the Seattle Symphony in performances of Mahler’s Kindertotenlieder. A few highlights from 2012/2013 included returns to Houston Symphony, Singapore Symphony, and Carnegie Hall and the beginning of a collaboration with famed conductor/ pianist Vladimir Ashkenazy. 2013/2014 sees Nathan in his debut with the Bolshoi Opera, Moscow as the Dutchman in Wagner’s Flying Dutchman, at Carnegie Hall with Roger Norrington and Beethoven’s Missa Solemnis, with the Royal Flemish Philharmonic under Philippe Herreweghe to record Dvořák’s Requiem, the Netherlands Radio Philharmonic Orchestra under Vasily Petrenko in Dvořák’s Stabat Mater, the Opéra National de Bordeaux as Huascar in Les Indes galantes and further work with Vladimir Ashkenazy and the Philharmonia Orchestrafor with Prokofiev’s Ivan the Terrible.