Kyle Albertson

Kyle Albertson

Renowned not only for his luxurious voice, confidence, and style, but also for his versatility and ability to bring a character to life on stage, bass-baritone Kyle Albertson is taking the business by storm. In his début as Wotan in Wagner’s epic masterpiece Die Walküre, in Maestro Jaap van Zweden final performance with the Dallas Symphony, Theater Jones exclaimed, “the most impressive aspect of this performance came undoubtedly from Wotan…his voice masterfully brought the character to life…Albertson’s interactions throughout the performance with his most beloved daughter, Brünnhilde were ingeniously convincing. Coupled with Albertson’s commanding, though endearing, baritone, these moments did not seem like an opera concert at all, rather a fully realized engagement of dramatic and musical interpretation.”  The Dallas News called his performance “gripping… I can’t recall the opera’s final parting of father and daughter so emotionally intense…this high-intensity performance will surely rank as a legend in Dallas musical history.” This tour-de-force performance left no doubt that the next American Wotan had arrived!

Mr. Albertson made his European début at Opera Köln in Germany as Frank Murrant in Street Scene, and will return to Europe in 2022 to perform the title role in Der fliegende Holländer and Wotan in Loriot’s Der Ring an einem Abend, both for Opera Graz.  In addition, he will return to the Metropolitan Opera as Angelotti in Tosca, Virginia Opera in Das Rheingold as Wotan, and will début the title role in Bartok’s Bluebeard’s Castle with Opera Roanoke. 

 

Calendar

Event Date
Apr 23
to
Jun 12
The Flying Dutchman
Dutchman
Oper Graz
Graz, Austria
Event Date
May 5
to
May 22
Loriot‘s Der Ring an einem Abend
Wotan/Wanderer
Opera Graz
Graz, Austria
Event Date
Sep 30
to
Oct 16
The Valkyrie
Wotan
Virginia Opera
Norfolk, Virginia
Event Date
Nov 22
to
Dec 15
The Hours
(Richard)
The Metropolitan Opera
New York, New York

Artist Bio

Renowned not only for his luxurious voice, confidence, and style, but also for his versatility and ability to bring a character to life on stage, bass-baritone Kyle Albertson is taking the business by storm.  In his début as Wotan in Wagner’s epic masterpiece Die Walküre, in Maestro Jaap van Zweden final performance with the Dallas Symphony, Theater Jones exclaimed, “the most impressive aspect of this performance came undoubtedly from Wotan…his voice masterfully brought the character to life…Albertson’s interactions throughout the performance with his most beloved daughter, Brünnhilde were ingeniously convincing. Coupled with Albertson’s commanding, though endearing, baritone, these moments did not seem like an opera concert at all, rather a fully realized engagement of dramatic and musical interpretation.”  The Dallas News called his performance “gripping… I can’t recall the opera’s final parting of father and daughter so emotionally intense…this high-intensity performance will surely rank as a legend in Dallas musical history.” This tour-de-force performance left no doubt that the next American Wotan had arrived!

Mr. Albertson made his European début at Opera Köln in Germany as Frank Murrant in Street Scene, and will return to Europe in 2022 to perform the title role in Der fliegende Holländer and Wotan in Loriot’s Der Ring an einem Abend, both for Opera Graz.  In addition, he will return to the Metropolitan Opera as Angelotti in Tosca, Virginia Opera in Das Rheingold as Wotan, and will début the title role in Bartok’s Bluebeard’s Castle with Opera Roanoke. 

Kyle first joined The Metropolitan Opera roster for Don Giovanni and returned for five consecutive seasons in their productions of Le nozze di Figaro, Die ZauberflöteDialogues des carmélitesThe Merry Widow, and Manon. 2020 and 2021 Metropolitan Opera engagements were to include covering the roles of the title role in Der fliegende Holländer, Claggart in Billy Budd, and Kurwenal in Tristan und Isolde. He was also slated to make his role débuts as Jochaanan in Salome and Pizarro in Fidelio.

Albertson’s first foray into Wagner’s demanding vocal universe came in his house début at Lyric Opera of Chicago for their production of Das Rheingold, in which he subsequently performed the role of Donner in Minnesota Opera’s production shortly thereafter.  He then went on to cover Greer Grimsley’s Wotan in Francesca Zambello’s production of Der Ring des Nibelungen for San Francisco Opera and returned to the Lyric Opera of Chicago for their production of Siegfried.

Additional engagements have included his début as Scarpia in Tosca for Virginia Opera, Lieutenant Horstmayer in Silent Night with Opera San José, Escamillo in Carmen for the Phoenicia Festival, Sharpless in Madama Butterfly with New Jersey Festival Orchestra and the Northern Lights Music Festival, Zuniga in Carmen with Dallas Opera, Sacristan in Tosca with Houston Grand Opera, the Sergeant of Police in Pirates of Penzance with Atlanta Opera, Lescaut in Manon Lescaut with Opera Grand Rapids, DeGuiche in Cyrano with Michigan Opera Theatre and Opera Carolina, the title role of Sweeney Todd with Syracuse Opera, Sam in Trouble in Tahiti with Opera Parallel at SFJazz, and JP Morgan in the World Première of Tesla with SoBe Arts in Miami.  In addition, he performed Lyndon B. Johnson in the workshop of David T. Little’s JFK and Bartolo in Il barbiere di Siviglia with Fort Worth Opera;  Porthos in Les Trois Mousquetaires with the Phoenicia Festival; Rucker Lattimore in Cold Sassy Tree with Sugar Creek Opera Festival; and the roles of the Prison Warden in Dead Man Walking, Hobson in Peter Grimes, and the Duke in Roméo et Juliette all with Des Moines Metro Opera.

A sought-after concert artist, a few recent highlights of his concert career include a solo in Bruckner’s Te Deum with Houston Symphony; the bass solo in Verdi’s Requiem with The Händel Society of Dartmouth; Händel’s Messiah with Boise Philharmonic; Papageno in Boston Youth Symphony’s concert performance of Die Zauberflöte at Symphony Hall; a Carnegie Hall début in Rutter’s Mass of the Children and a subsequent return for Kevin Padworski’s Wanderlust; and a concert version of Der Rosenkavalier with Christoph Eschenbach and the National Symphony.

Albertson is a graduate of The Santa Fe Opera Program, Minnesota Resident Artist Program, The Glimmerglass Festival, Aspen Opera Theater Center, and Chicago Opera Theater.  He appeared in a variety of productions during his training including Les contes d’HoffmannLe nozze di Figaro, Un ballo in mascheraRoméo et JulietteLa donna del lago, as well as performed the roles of Escamillo in Carmen, Harašta in The Cunning Little Vixen, Geronimo in Cimarosa’s Il matrimonio segreto, Gus O’Neill in John Musto’s Later the Same Evening, Nilakantha in Lakmé, to which critics hailed “Kyle Albertson made an imposing Nilakantha, bringing life to a character that is barely two-dimensional.” and finally Quince in A Midsummer Night’s Dream and Henry Kissinger in Nixon in China, lauded by The Chicago Sun Times and The Chicago Tribune for his “watchful” and “effective” portrayal.

Albertson has placed as a finalist in several competitions such as The Gerda Lissner Foundation International Vocal Competition, the George London Foundation Competition, the Marcello Giordani Competition, the Liederkranz Competition, and the Metropolitan Opera National Council Auditions. He holds a Master of Music degree from DePaul University where he studied with world renowned mezzo-soprano Susanne Mentzer, and a Bachelor of Music from the University of Northern Iowa where he studied with David Smalley. He is currently in the studio of Dr. Steven King.

Updated 4.29.22

Video

Ha più forte sapore” Tosca

“Abendlich strahlt der Sonner Auge”

“Die Frist ist um”

Excerpts as Sharpless

“With A Little Bit of Luck”

Press

"...luxuriant tone quality..." – Texas Classical Review

Die Walküre – “Fresh off the plane, Albertson husbanded his vocal resources throughout, in a role largely written to allow the singer to do so. He delivered a quietly dramatic presence in his monologue relatively early on in Act II; he gradually build up to the final scene three hours later in which he allowed his luxuriant tone quality to resonate at full volume before slipping gently into the mournful farewell aria ‘Leb’ wohl.’ ”

"...one of the nastiest, most gleefully sadistic Scarpia’s in recent memory, powerful of presence and voice." – Opera Magazine London

Tosca – "Kyle Albertson offered one of the nastiest, most gleefully sadistic Scarpia’s in recent memory, powerful of presence and voice. He even found flashes of evil humour in the role, making his performance yet more compelling, and he could turn his firm bass-baritone beguilingly sweet and seductive in his Act 1 manipulations of Tosca."

"...portrayed his character’s complexity with aplomb..." – Parterre

Silent Night – “…bass-baritone Kyle Albertson portrayed his character’s complexity with aplomb. His subtle approach made his evolving feelings about Nikolaus fascinating to track.”

"His magnificent tone moved effortlessly between the dark and gleaming poles required by this austere role." – The Roanoke Times

Bluebeard – "Albertson, whose Scarpia and Wotan figure on the international stage with increasing frequency, delivered a regal Bluebeard whose sadness morphs into warmth and love before revealing a tainted soul’s steely resignation. His magnificent tone moved effortlessly between the dark and gleaming poles required by this austere role."

"...dramatizing his performance to gripping effect..." – Dallas News

Die Walküre – “Albertson gave his considerable all, even dramatizing his performance to gripping effect. Between him and Heidi Melton’s Brünnhilde, I can’t recall the opera’s final parting of father and daughter so emotionally intense.”