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KYLE ALBERTSON
BASS-BARITONE
BIOGRAPHY
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.
This season, Mr. Albertson returns to Pittsburgh Opera to sing Scarpia in Tosca and Austin Opera as Senator Johnny Iselin in Kevin Puts and Mark Campbell’s The Manchurian Candidate, and he makes his role début as Jochanaan in Salome with San Diego Opera. He also joins Pacific Symphony to sing Wotan in Das Rheingold and The Cleveland Orchestra to sing the Mayor in Jenůfa. Last season, he joined Maestro Gustavo Dudamel and the LA Philharmonic for Das Rheingold, The Dallas Opera for Elektra, Pittsburgh Opera as the title role in Der fliegende Holländer, and Virginia Opera as the Wanderer (Wotan) in Siegfried. Mr. Albertson also made his début with Lyric Opera of Kansas City as Wotan in their production of Journey to Valhalla, a compendium of Wagner’s epic Ring Cycle. Recent engagements have also included Wotan in both Das Rheingold and Die Walküre for Virginia Opera, Wotan in Das Rheingold for Opera Santa Barbara, a role début as the title role in Bartok's Bluebeard’s Castle with Opera Roanoke, a role début as Prometheus in Walter Braunfels’ Die Vögel with Pacific Opera Victoria, and a return to Santa Fe Opera to cover the title role in Der fliegende Holländer.
Mr. Albertson made his European début at Opera Köln in Germany as Frank Maurrant in Street Scene, followed by his début with Oper Graz in Austria, performing the title role of Der fliegende Holländer in more than 12 performances, as well as Wotan in their concert performances of Loriot’s Der Ring an einem Abend. Albertson made his main stage Metropolitan Opera début as Angelotti in Tosca, having first joined their roster for productions of Don Giovanni, Le nozze di Figaro, Die Zauberflöte, Dialogues des Carmélites, The Merry Widow, and Manon.
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CRITICAL ACCLAIM
"Vocally, dramatically – [Albertson's] performance was one that won’t be forgotten any time soon" – Onstage Pittsburgh
Scarpia – “Kyle Albertson’s interpretation of Baron Scarpia, the villainous chief of police, was virtually the last word on the subject. His baritone voice is so powerful that he could be heard over the full orchestra, chorus, organ and canon blasts that bring the first act to a close. Vocally, dramatically – his performance was one that won’t be forgotten any time soon.”
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"[Albertson] bring[s] vocal heft but also enough color and nuance to his melodies to give a...three-dimensional picture" – Pittsburgh Gazette
Scarpia – “Kyle Albertson’s Scarpia, the corrupt chief of police, was especially excellent Saturday, bringing plenty of vocal heft but also enough color and nuance to his melodies to give a more three-dimensional picture of the opera’s zealous villain than other productions I’ve encountered.”
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"Albertson carries [Scarpia] with refined composure and breath-taking energy" – Center Stage
Scarpia – “Perhaps most impressive is baritone Kyle Albertson as Baron Scarpia. His villainous role, of course, is over the top, but Albertson carries it with refined composure and breath-taking energy.”
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"a viril-dark bass baritone voice with absolutely secure height and clear articulation” – OnlineMerker.com
Der Fliegende Holländer – "The American Kyle Albertson as the title character has a viril-dark bass baritone voice with absolutely secure height and clear articulation”
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"a real character voice for the Dutchman" – IOCO.de
Der Fliegende Holländer – "The Graz Opera cleverly shopped at the guest singer market: Kyle Albertson has a real character voice for the Dutchman, blackened, earthy, slightly bitter in sound, but with which he also needs to form slim, soft lines.”
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"...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.’ ”
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"...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."
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"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."
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"...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.”