Beauty and the Bass /11/15/2021

Benjamin Yarmolinsky, Award winning composer and distiguished professor

The setting couldn’t have been more beautiful. In the lateNovember afternoon, on a lawnset withcomfortable chairs, on a bluff overlookingthe Hudson,at the height of colorful fall foliage, asmall but appreciative audience nursed cups of hot cider or cocoa asbass Nathan Resikaand pianistAlexandra Bellakovichgave a recital of operatic and concertchestnuts. The program was ambitious, giving Mr. Resika a chance to show off his rich grainy voice in arias by Gluck, Mozart and Verdi, as well as Italian art songs, American spirituals and several popular songs from the 19thand early 20thcentury.Mr. Resika established a comfortable rapport with the audience early on, regaling them with jokes and putting them at their ease as he introduced each number. The voice was warm and expressive, particularly in the deep notes of its register.Highlights included a rare concert aria by Mozart, “Per Questa Bella Mano”, a dramatic solo from Verdi’s Don Carlo,a touching rendition of Stephen Foster’s “Jeannie with the Light Brown Hair”and a stirring interpretation of “The Road to Mandalay.”In spite of the cold, Ms. Bellakovich provided sensitive accompaniment and was able to manage the difficultpassagework of the Mozart with aplomb. Most outdoor concerts are acoustically unsatisfactory, poorly amplified, over-amplified or inaudible. This outdoor concert was an exception. The soundsystem in this case worked well, largelybecause the singer sang into a microphone thatgently reinforced his voice and helped it to blend with the electric piano.This was a very enjoyable way to spend a Sunday afternoon.


J A Di Bello, / 2/24/19

Title of review: MALEDIZIONE...." So severe his curse; it causes physical distress, as well as mental anguish. Triggering this action, Count Monterone is splendidly and credibly portrayed by Nathan Resika, a bass-baritone. His standing, stature and appearance contain that critical element of malice and evil. Credibility and focus of purpose are so essential at this early point; for everything that happens for the remainder of the drama is a result of Monterone’s maledizione. Resika makes it happen!"

La Cenerentola

Mark Bretz/ Ladue News/ 01/31/2017

Nathan Resika made a fine Alidoro with his resonant bass and stern, studied approach to the role of the sagacious tutor."

La Cenerentola

Steve Callahan/Broadway World

" ...and Nathan Resika, as Alidoro, the prince's tutor, has all the depth and power that one could ask"

La Cenerentola

Sarah Bryan Miller/Saint Louis Post-Dispatch/01/30/2017

"As Alidoro, Ramiro’s string-pulling tutor, bass Nathan Resika looked like Franz Liszt, acted sympathetically, and sang well".

La Cenerentola

Chuck Lavazza /Stage Left/ Saint Louis /01/27/2017

"Bass Nathan Resika turns in perhaps the most surprising performance, finding interesting shadings in what could be the fairly ordinary role of Alidoro. The character is essentially a saintly fellow who delivers the libretto's explicitly Christian message about the last being first, but Mr. Resika acting (and, more importantly, reacting) makes him more three-dimensional than one might expect."

Eugene Onegin

Barry Plaxen, Delaware-Hudson Canvas, december, 2016

Resika is a magnificent singing actor who easily combines beautiful singing with deeply emotional feelings behind each and every note, and makes them both one and the same. Now that's music-drama, aka opera!

Il Trovatore

Daniel Hathaway,, June 17th,2016

As Ferrando, the captain of the Count of Luna’s guard, the resonant bass Nathan Resika immediately seized and held attention with his lengthy prologue that summed up the backstory of the opera.

Budapest's got talent

Elisabeth Catalin Grabow,the Budapest Sun, 07/2013

Anyone who has experienced him on stage cannot resist the feeling that he is born for it. Even those who were not previously fans of opera had found a new love.

Don Giovanni

Milton Moore..awarded a NEA fellowship to the Arts Journalism institute in classical music and opera

At its best, this opera becomes Leporello's tale, and Resika, with perfect comic timing, a gift for the double take and a commanding and rich timbre, very much made this opera his. As a duo, the baritones' comic and vocal chemistry alone made the performance worthwhile....... Two hours-plus of fine music and comedy, led by Resika... 05/2013,Milton Moore, The New London Day

Don Giovanni

Larry Kellum, Connecticut Classical Magazine, May 6th, 2013

Resika, with a voice twice the size, was for once not an aging, pudgy buffo caricature, but a slimy and comical foil to his master.

La Boheme

William Albright, Opera Magazine, 09/2010

Nathan Resika supplied a warm-toned Colline

Don Giovanni

Nicola Smith, Valley News, 08/19/10 "Effortless singing distinguishes Operanorth's Don Giovanni"

Bass Nathan Resika, who sings the Commendatore, has the sonorous gravity needed to play the man murdered by Giovanni in Act 1...particularly in the last which the Commendatore's ghost returns to exact vengeance. These moments are as weighty and as chilling as Mozart and Da Ponte intended; Don Giovanni may appear to shrug off the terrors of final damnation, but the audience does not.

Don Giovanni

Jim Lowe, Rutland Herald, 08/15/2010

Bass Nathan Resika delivered a powerful final scene as the Commendatore.

La Boheme

Buzz Belmont ,Houston Chronicle Online, 04/02/10

Nathan Resika's booming basso is beautifully realized, particularly in his Act IV tour de force aria "Vecchia zimarra" ("Dear old coat").

La Boheme

John DeMers, Houston Artsweek 04/01/2010

Filling out the four main bohemians... Nathan Resika shines as Colline. The latter’s farewell to his beloved overcoat near the end, “Vecchia zimarra,” is an understated scene-stealing delight.

La Boheme

Everett Evans, Houston Chronicle, 04,01,2010

"Nathan Resika's Colline rounded out the quartet of artists in stalwart fashion...Resika with the philosopher's skepticism, especially in his aria of farewell to his beloved overcoat (which he sells to supply comforts to Mimi in her final hours.)

the Marriage of Figaro

Anthony Amato , Legendary Impresario,singer,conductor, director, Professor

You will be a great artist.

Dr.Jekyll and Mr.Hyde

Barry O'Neal, award winning composer and director of concert music for Carl Fischer, 02/12/2009

“In my opera, DR. JEKYLL AND MR. HYDE, Nathan Resika gave a superb performance as Sir Danvers Carew. The part is very important to the story. Carew must project a certain arrogance and contemptuous determination, and Nathan can really act with his voice, which has an amazingly rich and dark sound, with powerful low notes. It was a great pleasure to hear what he did with this critical part.”

Acis and Galatea

Anthony Morss , Conductor, 11/12/08

The role of Polyphemus requires comic characterization as well as coloratura facility. Again Nathan triumphed, performing with security, ease, and distinction.

La Forza del Destino

Vivian Schweitzer, The New York Times, July, 2008

“The able young cast included Nathan Resika as the Marquis of Calatrava”

Le nozze di Figaro

D.L.Groover , Houston Press, November, 2007

“Nathan Resika (Figaro), with his sonorous baritone and sprightly acting, fleshed out this witty servant….with marvelous, full-throated joie de vivre”.


Stuart Duncan, Princeton Time Off, July, 2007

The voices were splendid. Nathan Resika has a delicious time as the Sergeant of Police".

Don Giovanni

Opera-L archives, May, 2006

“Nathan Resika, The Commendatore, didn’t look as old as he might, but sang sonorously”

La Clemenza di Tito

Nico Castel

Mr.Resika is gifted with a splendid bass instrument. Musical...intelligent...he had and excellent working relationship with his colleagues

Albert Herring

Princeton Town Topics, July, 2004

Nathan Resika showed a good lower register as Superintendent Budd

In Concert

Lucy Mallows,The Budapest Sun,February, 2003

Singer Nathan Resika gave a stirring rendition of some old favorites;Old Man River and Danny Boy"