"Mr. Stark was a menacing Montresor."
- Anthony Tommasini, New York Times, April 2016 (The Poe Project)
"Nathan Stark was marvelous as the mysterious man who lures Sylvia to her doom in the Holland Tunnel."
"Nathan Stark added a touch of reality as a gravedigger, sitting on the
edge of the stage the whole time, waiting for everything to be over so
he could finish filling in the grave and go home"
- Gregory Sullivan Isaacs , TheaterJones.com, April 2016 (The Poe Project)
"Nathan Stark’s richly textured bass wraps the terrorist Montresor in
sonic menace. "
- Scott Cantrell, Dallas Morning News, April 27th, 2016 (The Poe Project)
"Nathan Stark made an auspicious role debut as an uncommonly fine Bottom.
His stage demeanor was by turns pompous, genial, blustering, and endearing
and he captured every bit of the part’s humor, especially when
portraying the overwrought Pyramus. His well-schooled bass-baritone has a
steely thrust, and its easy amplitude allowed it to ring out in the house.
Mr. Stark’s authoritative impersonation made us love to be annoyed by
this meddlesome tinker."
- Opera Today, February 22nd, 2016 (Midsummer's Night Dream)
"Two other lynchpin characters were well-sung … the satrap (governor) of
Gaza, who gets killed off by Samson in Act I, and bass Nathan Stark as
an old Hebrew man whose repeated advice against fooling around with
Dalila was ultimately ignored by Samson.”
- Arts Atlanta, June 6th, 2015 (Samson et Dalila)
“… in the ‘Hostias,’ Stark entered with his richly hued, unforced production.”
— San Diego Story, May 2015 (Verdi Requiem)
"Bass, Nathan Stark, made a noble Monterone."
- Arts Atlanta, March 2nd, 2015 (Rigoletto)
"Stark is the stand-out comic performer in the
piece. His buffoonish Mustafa growls and whines, blusters and gapes,
while engaging in a barrage of physical schtick that words cannot
capture. Among a weaker cast, he would easily steal the show, but his costars give him a run for his money."
- Metroactive Arts, November 18th, 2014. (l'Italiana in Algeri)
"Stark’s acting chops absolutely made this performance."
- The Stark Insider, November 18th, 2014. (l'Italiana in Algeri)
"Much of the remaining laughter was generated
by bass Nathan Stark, who plays the Mustafà with a stout voice and an
impressive package of comic skills: pratfalls, dance moves, striptease,
hisses, gasps, barks, and a series of rubberized facial expressions that
make one suspect that he is, in fact, a cartoon character."
- Operaville, November 18th, 2014. (l'Italiana in Algeri)
"Stark proved that his characterization and
comedic skills are on a par with his impressive voice."
- Peninsula Review, November 19th, 2014. (l'Italiana in Algeri)
"In particular, there is one blow-you-away
performance, by bass Nathan Stark, singing the role of Mustafa, the Bey
of Algiers. At Sunday's performance -- the second of six, through Nov.
30 -- his stentorian voice was impressive, for sure. But
more than that, Stark, also debuting with the company, is a natural
comic actor with a memorably plastic face that puts his characterization
of this wildly rich, lecherous, spoiled and foolhardy ruler over the
- San Jose Mercury News, November 17, 2014. (l'Italiana in Algeri)
"The other blow-away singer is bass Nathan
Stark, as thug Sparafucile. The role is short, but meaningful, and
Stark's cistern-deep voice is chilling with menace and evil life force.
Never once do you doubt that this hired assassin is the real
thing.(I missed his first appearance at OH during the 2011 season when
he sang the conflicted Philip in Verdi's masterpiece Don Carlo - that's
the trouble with double casting - but I'm honored to have heard him
- Houston Press, September 29th, 2014 (Rigoletto)
"Bass Nathan Stark cut a chilling figure as
the assassin Sparafucile, not only because of his voice's ominous black
sound, but also because of the cold-bloodedness conveyed in his face:
the pride as he discussed his skill with a knife, the fake courtliness as he greeted a victim, and the stoniness as he demanded payment. "
- Houston Chronicle, September 30th, 2014. (Rigoletto)
"Stark's voice is intoxicating. It is as toasted and oaken as the bourbon cask it was surely matured in."
- Katricia Lang, BroadwayWorld.com, 2014 (Rigoletto)
“The sonorous bass Nathan Stark [was an] outrageously funny goat-footed satyr.”
— Rafael de Acha,
Seen and Heard International, 2014 (La Calisto)
“Nathan Stark was a marvelous Sylvano, with his rich, sonorous bass.”
OperaLively, 2014 (La Calisto)
“Bass Nathan Stark made a strong, blustery Zuniga.”
— Mary Ellyn Hutton,
Music in Cincinnati, 2014 (Carmen)
"Nathan Stark was fine as Zuniga, and his fight in the tavern with Don José was impressive."
— Janelle Gelfand,
Cincinnati Enquirer, 2014 (Carmen)
“Cincinnati Opera regular Nathan Stark brought his familiar big, rich bass to Zuniga.”
OperaLively, 2014 (Carmen)
always in Cincinnati, secondary roles were strongly cast. Nathan Stark,
who has been heard here as the Commandatore in Don Giovanni, was a
Zuniga (in Carmen) of real stature."
- Opera News, September 2014 (Carmen)
"Although more often than not tasked with portraying serious bass roles such as the Commendatore in Don Giovanni,
Mr. Stark was perfectly charming as the oafish Sulpice, leader of the
regiment that has raised Marie, and primary father figure to the lass.
He made Sulpice lovable, believable and amusing. One wonders whether
singing basso buffo roles might prove to be a gold mine for Mr. Stark. He was certainly very successful with this one!"
- Taminophile, February 8th, 2014 (La Fille du Regiment)
"Tall and stocky veteran baritone (bass) Nathan Stark is ideal as the blustering but warm-hearted Sulpice"
- Isthmus - The Daily Page, February 2014 (La Fille du Regiment)
"As Pope Urban VIII, a.k.a. Cardinal
Barberini, as well as the philosopher Simplicio in Scene 5, Nathan Stark
made a strong impression with his rich, authoritative bass and his
portrayal of the fundamentally selfish man beneath the genial
- Opera Lively, July 2013 (Galileo Galilei)
"Stark, Dayton Opera's Hunding in our Die Walküre, is a major voice and stage presence."
- Burt Saidel, Oakwood Register, July 2013 (Die Walküre)
"Nathan Stark made a stentorian Commendatore."
- Cincinnati Enquirer, June 2013 (Don Giovanni)
"His sidekick, Leporello, was hilarious as the
long-suffering servant. You don’t often get real belly laughs in opera,
but Nathan Stark, an accomplished patter singer, did while delivering
perfect dialogue in a booming bass."
- Michigan Live, February 2013
" In the comprimario role of the Duke of Norfolk, Nathan Stark displayed a fresh, sharply focused [bass].”
— Opera News, 2012
"In the small but key role of the tribe’s
“enforcer,” Nourabad, bass Nathan Stark was particularly adept at using
his dark instrument to create a sense of menace and foreboding once he’s
discovered the forbidden love between Leila and Nadir."
— The Washington Times, October 2012
" Mr. Stark’s unusual, variegated voice had
already impressed me in earlier concerts. He is an original, gifted with
a large, piebald voice of power and resonance...he was entirely in his
element on the operatic stage. "
- New York Arts, August 2012
"The bass, Nathan Stark as the King of Egypt has become one of my
favorite performers at the Virginia Opera over the recent years. He did a
spectacular job as the Commendatore in Don Giovanni and as Sparafucile
in Rigoletto. Mr. Stark has a booming rich bass voice and is
consistently called on for roles that demand great stage presence, which
he fulfills so naturally."
- The Schiller Institute, November 2011
telling of the solos was the ominous and unearthly power of Nathan Stark.”
- The Washington Post, February 2010."
" From both a
singing and acting standpoint, he was one of the most effective Sparafuciles
this reviewer has been privileged to see and hear.”
- Washington Times, October, 2010
“There was much to
admire in the strong-voiced, authoritative Bonze of Nathan Stark.”
News, November, 2010.