Vocalist - Bass-Baritone
Verdi's Requiem - Jacksonville Symphony

"...bass Nathan Stark’s stentorian resonance gave his dire warnings of eternal flames awaiting the wicked an immediacy that was hair-raising."

Timothy Tuller, The Florida Times-Union
Memory and Celebration in Outdoor Requiem

"Baritone Nathan Stark gave an emotionally intelligent performance, able to switch from callous indifference to effusive warmth on the turn of a dime,"

Sudeep Agarwala, Classical Scene
An American Soldier - Opera Theatre of St. Louis

"At the trial, after the sergeant is cleared of the most serious charges, 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, The New York Times
Alma Deutscher's CINDERELLA - Opera San Jose

“The high production quality extends to the casting. At the palace, Nathan Stark hammed it up in the comic bass role of the King, his chatty demeanor contrasting with tenor Jonas Hacker’s fiery, sweet sound as the Prince.”

Ilana Walder-Beisanz, San Francisco Classical Review
Pacific Chorale does Beethoven's Mass justice

"... bass Nathan Stark’s voice has gravitas ..."

Paul Hodgins, Orange County Register
Fidelio – Cincinnati Opera

"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
‘Fellow Travelers’ and ‘Fidelio’: Forbidden Loves

"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
Beethoven's 'Fidelio' rivets in rare outing

"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 USA
Buried Alive / Embedded - Fort Worth Opera

"Nathan Stark, as her love interest/murderer, has a thick and menacing bass tone that was equally effective in the role of Gravedigger in Buried Alive."

Henry Stewart, Opera News
Digging Deep

"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.... Nathan Stark was marvelous as the mysterious man who lures Sylvia to her doom in the Holland Tunnel."

Gregory Sullivan Isaacs, Theater Jones
Fort Worth Opera presents two one-act operas inspired by Poe

"Nathan Stark’s richly textured bass wraps the terrorist Montresor in sonic menace."

Scott Cantrell, Dallas Morning News
Fort Worth Opera’s ‘Buried Alive’ and ‘Embedded’ Conjure Poe’s Dark Terrain

"At the start, a gravedigger (the chilling bass Nathan Stark) ruminates about the 'angel throng, covered in veils' and 'drowned in tears' that will surely attend the next funeral."

Anthony Tommasini, New York Times
Mill City gets zany with “The Daughter of the Regiment.”

“Nathan Stark was an endearing Sgt. Sulpice.”

Michael Anthony, Minneapolis Star Tribune
In the season finale, the ASO and Chorus ring through on the opera “Samson et Dalila”

“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.”

Mark Gresham, Arts Atlanta
‘Defiant Requiem’ a Moving Holocaust Remembrance at the Jacobs Music Center

“… in the ‘Hostias,’ Stark entered with his richly hued, unforced production.”

Ken Herman, San Diego Story
Atlanta Opera’s impressive, intense “Rigoletto” showcases strong young cast

“Bass Nathan Stark was a noble Monterone.”

James L. Paulk, Arts Atlanta
The 'Italian Girl' rocks

“Stark’s acting chops absolutely made this performance – especially the end of the first act of which Hancock [Opera San Jose’s General Director] spoke so highly.”

Cy Ashley Webb, Stark Insider
Opera San Jose's hilarious 'Italian Girl in Algiers'

“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 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.”

Richard Scheinin, San Jose Mercury News
Opera in the Heights Serves up Love, Lust, Sex and Violence in Rigoletto

“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.)”

D.L. Groover, Houston Press
Opera in the Heights delivers effective "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.”

Steven Brown, Houston Chronicle
Gender Confusion and Hasty Mating Encounters

“The sonorous bass Nathan Stark [was an] outrageously funny goat-footed satyr.”

Rafael de Acha, Seen and Heard International
'Calisto' is a silly, beautiful opera

“The singers phrased stylishly and added tasteful baroque ornaments.... There [was an] equally strong performance by … Nathan Stark, as Sylvano.”

Janelle Gelfand, Cincinnati Enquirer
Cincinnati Opera's first Baroque opera production ever probes playing around among the Olympians

“He was seconded … by the vivid characterization[s] of Nathan Stark as the burly oaf Sylvano.”

Jay Harvey, Upstage
La Calisto at the Cincinnati Opera

“Nathan Stark was a marvelous Sylvano, with his rich, sonorous bass.”

MAuer, OperaLively
CARMEN - Cincinnati Opera

"Nathan Stark was fine as Zuniga, and his fight in the tavern with Don José was impressive."

Janelle Gelfand, Cincinnati Enquirer
Cincinnati Opera's "Carmen" Unqualified Success

“Bass Nathan Stark made a strong, blustery Zuniga.”

Mary Ellyn Hutton, Music in Cincinnati
The Promise of Things to Come in Straightforward 'Carmen'

“Bass Nathan Stark made a strong, blustery Zuniga.”

Rafael de Acha, Seen and Heard International
Carmen at the Cincinnati Opera

“Cincinnati Opera regular Nathan Stark brought his familiar big, rich bass to Zuniga.”

MAuer, OperaLively
FM Opera delivers scary good Poe-inspired premieres
“The devil, terrorist Montressor, [is] suavely embodied by [bass] Nathan Stark.”
John Lamb, Fargo-Moorhead Forum
Madison Opera's The Daughter of the Regiment

“Tall and stocky veteran baritone Nathan Stark is ideal as the blustering but warm-hearted Sulpice.”

John W. Barker, The Isthmus
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