Nathan Stark

"Mr. Stark has a sizable, pliable bass-baritone that limns the tale of two rival brothers with tragic urgency. Moreover, he commands the stage with a winning presence and cunning command of nuance. It is not often that you will encounter the opening scene invested with such artistry and dramatic interest."

- James Sohre, Opera Today, February 2020 
(il Trovatore)

"Although Caruso addressed the demands of the four principles, there is a fifth requirement for a fine Trovatore, namely Ferrando, who has the unenviable of setting up the whole unlikely scenario in his lengthy opening appearance. Luckily, local favorite Nathan Stark conquered in that daunting responsibility, and he delivered in spades, with his potent and pointed delivery of "di due figli."

- James Sohre, Opera Today, February 2020
(il Trovatore) 

"Bass-Baritone Nathan Stark is a hilarious Doctor Bartolo, displaying unsuspected majorette-style twirling skills with his cane."

- Sarah Byran Miller, St. Louis Post-Dispatch, May 2019
(The Marriage of Figaro)

"Excellent work is done by Nathan Stark as the very comic Dr. Bartolo."

- Steve Callahan, Broadway World, May 2019
(The Marriage of Figaro)

"After the trial, after the sergeant is cleared of the most serious crimes, the judge (the earthy bass Nathan Stark) and a chorus of male and female soldiers sing "E pluribus unum; from the many, one."

- Anthony Tommasini, New York Times, June 2018
(An American Soldier)

"Nathan Stark booms imposingly as the Military Judge."

- Scott Candrell, The Dallas Morning News, June 2018
(An American Solider)

"Nathan Stark lends his deep bass to the part of the presiding military judge." 

- Mark Bretz, Ladue News, June 2018
(An American Soldier)

"(Nathan) Stark leads the "E pluribus unum" number - the" finale" if you will - and he does it richly and beautifully."

- Steve Callahan, Broadway World, June 2018
(An American Soldier)

"Nathan Stark deep-voiced, sonorous Don Basilio has something Mephistophelian about him. He tell everyone he would sell his services to the highest bidder and he seemed to delight in changing sides. He cavorted around the stage with the lithe movements of a dancer as he sang about providing "Fake News" in "La Calunnia.""

- Maria Nockin, Broadway World, February 2018 (il Barbiere di Siviglia) 

"The King, played by bass-baritone Nathan Stark, adds both comedy to his rich vocal display in the unfolding narrative."

- Opera Wire, December 2017 (Cinderella)

"At the palace, Nathan Stark hammed it up in the comic bass role of the King, his chatter demeanor contracting with Jonas Hacker's fiery, sweet sound as the Prince."

- San Francisco Classical Voice, December 2017 (Cinderella)

"Nathan Stark as the King is dramatically goofy, punctuating his regal whimsy with a deep baritone."

- Metro Active, December 2017 (Cinderella)

"The supporting cast hewed to a high level, with especially fine work by bass-baritone Nathan Stark, whose warmth and honeyed tone projected a sympathetic Banquo. "

- Mike Greenberg, Music Incident Light, September 2017 (Macbeth)

"Bass-Baritone Nathan Stark brings a round, lustrous tone to Banco."

- Thomas Jenkins, San Antonio Current, September 2017 (Macbeth)

"Nathan Stark was excellent as Banco."

- David Hendricks, My San Antonio, September 2017 (Macbeth)

"Also appealing was the Rocco of Nathan Stark, whose rich voice and genial stage presence made it easier to overlook some of the character's shortcomings."

- Joe Law, Opera News, October 2016 (Fidelio)

"Nathan Stark brought complexity to Rocco, the jailer, playing his humanity tinged with his fear of Pizarro without resorting to caricature."
- Heidi Waleson, Wall Street Journal, August 2016 (Fidelio)

"Bass Nathan Stark was a sturdily sung Rocco."

- John van Rhein, Chicago Tribune, July 2016 (Fidelio

"There was also the very human, compassionate Rocco, the chief jailer, of Nathan Stark. He was consistently believable as he argued against the job he was assigned."

- Janelle Gelfand, Cincinnati Enquirer, July 2016 (Fidelio)


"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 ,, 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 sh
ow, 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 top."
 - 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 now.)"
- 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.

"Stark's voice is intoxicating. It is as toasted and oaken as the bourbon cask it was surely matured in."

- Katricia Lang,, 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.”

MAuer, OperaLively, 2014 (Carmen)

"As 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 intellectual."

 - 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       

Most 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


For scheduling inquiries please contact:

                                           Athlone Artists
                               Phone: 617-651-4600


"I shall pass this way but once. Therefore, any good I can do or any kindness I can show, let me do it now, for I shall not pass this way again."  - Stephen Grellet (1773-1855)

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