Canadian bass-baritone Nathan Berg takes us to Basel, Switzerland, where he is singing the role of Hamm in Kurtág‘s Fin de Partie at Theater Basel until June 18th (tickets and info).
Nathan is a Juno, Grammy and Echo award-winning artist with an impressive global career. Recent highlights include performances with The Metropolitan Opera, Teatr Wielki, Beijing’s National Centre for the Performing Arts, La Scala, Bard Music Festival, the Salzburg Festival and Semperoper Dresden.
While in Basel, Nathan chats with us about the opera house, his favourite café for afternoon tea and the odd sight you may see floating down the Rhine. Read on to find out more.
City where you’re working?
I’m currently in the beautiful city of Basel, singing the role of Hamm in Fin de Partie by György Kurtág at Theater Basel.
How long are you working on contract?
Rehearsals began on February 27, and the final performance is on June 18 – a long, rewarding stretch with this piece.
What’s the opera house like?
It’s an exceptional and very active theatre, known for its innovative, drama-driven productions. The main hall is relatively modern and intimate, while the foyer is expansive and constantly in use – open to the public for everything from studying and writing to dance classes and informal gatherings.
Where is the most peaceful place in the city?
The cement steps along the Rhine River. Even when it’s busy, there’s something calming about sitting by the water and watching the current move through the city.
Best coffee or tea?
UM Café is my go-to.
Coolest bar or restaurant you’ve been to?
The patio at Café Three Ladies, with a lovely afternoon tea overlooking the river, is hard to beat. That said, the canteen at Theater Basel is surprisingly impressive. The à la carte menu changes daily, and it’s a great place to meet for a beer and fries after a show.
An activity you have done that is unique to the area?
You can bike to France and Germany within half an hour, then return to Switzerland – all in a single outing. That kind of border-crossing ease feels uniquely local.
Is there something unexpected that happens locally that you discovered?
On hot days, hundreds of people float down the Rhine holding waterproof bags with their clothes inside. It’s both practical and a bit surreal to watch.
How did you find accommodation?
The opera house arranged it for me, which made the transition very smooth.
What’s the most important thing when finding accommodation as a singer?
Clean, quiet and comfortable are essential, along with easy access to the theatre. A full kitchen matters to me as I enjoy cooking. And having laundry nearby or in the building makes a big difference over a long contract.
Have you had a chance to explore galleries or museums?
Yes, and Basel is exceptional for art. The Kunstmuseum Basel is a standout (with free entry at select times), as is the Fondation Beyeler. Both are worth multiple visits.
Is there anything else you’d recommend?
The Christmas markets, Basler Fasnacht, the Tinguely Fountain, and Gilgen Bäckerei – especially for the strawberry pie this time of year. Basel is a city full of art and surprises. And as a final note, Roger Federer is from here.
LEARN MORE ABOUT NATHAN BERG
VISIT HIS WEBSITE
© Nathan Berg
Drawing in the streets of Basel
© Nathan Berg
Backstage at Theater Basel
© Ingo Hoehn
In Fin de Partie
© Ingo Hoehn
In Fin de Partie
© Ingo Hoehn
In Fin de Partie
Fin de Partie
Theater Basel
April 12 – June 18
CONDUCTOR: Gábor Káli
DIRECTOR: David Marton
SET & COSTUME DESIGN: Márton Ágh
LIGHTING DESIGN: Thomas Kleinstück
DRAMATURGY: Elise Boch
HAMM: Nathan Berg
CLOV: Michael Borth
NELL: Ursula Hesse von den Steinen
NAGG: Ronan Caillet
STATISTERIE THEATER BASEL
SINFONIEORCHESTER THEATRE BASEL
Beckett’s classic of absurd theatre as an opera
Four people, perhaps the very last ones left: Hamm, his servant Clov, and his parents Nell and Nagg. They grapple with power and powerlessness, memory and repression, affection and humiliation, while the world outside falls apart. This standstill lays bare the depths of their relationships, but also reveals absurd humor. A lifelong fascination with Samuel Beckett’s ‹Endspiel› inspired Hungarian composer György Kurtág to write his first opera in 2018. Kurtág’s 100th birthday marks the occasion for the Swiss premiere of his work in Basel, where the composer regularly worked. Today, his estate is preserved here at the Paul Sacher Foundation. In his Basel debut, director David Marton frees the characters from the prison of Beckett’s dark room and transports them into the open air: onto a rooftop terrace in Márton Ágh’s post-apocalyptic urban landscape.
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