A sought-after conductor of ballet repertoire around the world, Nathan Fifield has been cited by critics for his “forceful and expressive musicality,” his “technical clarity,” and “an energy and enthusiasm that is contagious.” An extremely versatile musician, he has distinguished himself as a conductor in symphonic, operatic, and ballet repertoire, and works as a vocal coach, chamber musician, and composer.”
Nathan Fifield has conducted at many top companies including National Ballet of Canada, Houston Ballet, Pacific Northwest Ballet and San Francisco Ballet. He was Associate Conductor at Northern Ballet, where he conducted over fifty performances a year, and is currently the Principal Conductor at Nashville Ballet. This season Nathan makes return engagements with Pennsylvania Ballet, San Francisco Ballet and Suzanne Farrell Ballet and debuts at Oklahoma City Ballet. Repertoire highlights include four world premier productions: The Boy in the Striped Pajamas and Casanova at Northern Ballet, The Seven Deadly Sins at Nashville Ballet and a new work by Brian Sanders at Pennsylvania Ballet. For the past four seasons, Nathan Fifield has appeared at the Opéra de Bordeaux, most recently conducting The Sleeping Beauty, and made his debut at the Ballet du Capitole Toulouse with Coppélia. He returns to Toulouse this season for Giselle and current engagements include debuts at the Semperoper Dresden conducting The Nutcracker, with Louisville Ballet for Stravinsky! and with the Royal Philharmonic Orchestra, as well as Grace and Grandeur with Pennsylvania Ballet and the Farewell Performances of The Suzanne Farrell Ballet. With Nashville Ballet, he conducts Modern Masters, The Nutcracker and The Sleeping Beauty.
Equally at home in the world of opera and musical theatre, Nathan Fifield has gained attention for his skill in bringing singers, chorus, and orchestra into “perfect balance.” Starting his opera career as a repetiteur and chorus master, he has conducted numerous productions including Carmen, Hansel and Gretel, Le Nozze di Figaro, Evita, Into the Woods and West Side Story. He is the past music director of Light Opera of Oklahoma and has conducted productions at Chelsea Opera, One World Symphony and Utah Festival Opera. He has also served on the music staff of Houston Grand Opera and Opera in the Heights.
A native of Idaho, Nathan Fifield received piano and conducting degrees at the Mannes College of Music in New York.
Please note that this biography is not to be used for programmes. Current information is available on request.
Carmina Burana / Tulsa Ballet
“Nathan Fifield brought all the elements together with great style and led the Tulsa Symphony Orchestra in a performance with all the primal power one expects from “Carmina Burana,” as well as the finesse Tulsa Symphony audiences have come to expect from this orchestra.”
Coppélia: Pacific Northwest Ballet
“Under Fifield’s baton the orchestra made spirited work of the score, with a charm that never flagged.”
The Great Gatsby / Tulsa Ballet
“His conducting has an energy and enthusiasm that is contagious.”
Ballet Dance Magazine
Layla / Nashville Ballet
“Principal guest conductor Nathan Fifield, who led the Nashville Symphony from the pit, had little trouble making Danielpour’s idiomatic music sparkle.”
Madame Butterfly Northern Ballet
“Nathan Fifield conducted the Northern Ballet Sinfonia in a beautifully condensed orchestral transcription of Puccini’s most familiar opera. The additional use of Japanese music compliments the performance perfectly and is used to full and dramatic effect throughout Butterfly’s heart-breaking death. The wonderful theatrical performances from all the cast made the absence of any sung text a natural evolution from the opera.”
The Nutcracker / Nashville Ballet
“And under the baton of principal guest conductor Nathan Fifield, Nashville Symphony brings Tchaikovsky’s wondrous score to life with precision and style.”
Romeo and Juliet / Tulsa Ballet
“Nathan Fifield led the Tulsa Symphony Orchestra, which performed the Prokofiev score winningly. It was music full of color and passion, the sections kept in perfect balance — the sort of performance that reinforces the idea that the cost of having an orchestra in the pit is money well spent.”
Rush / San Francisco Ballet
“A compelling performance, an invigorating, continuous surge of music in motion.”
San Francisco Chronicle
The Sleeping Beauty / Nashville Ballet
“Nathan Fifield led the ensemble with color and vigor.”
1984 Northern Ballet
“A score that punches hard with the suspense and is played by the Northern Sinfonia, conductor Nathan Fifield, with considerable panache. Big impact from the pit.”
Manchester Theatre Awards