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 will see Albertson join Maestro Gustavo Dudamel and the LA Philharmonic for Das Rheingold, The Dallas Opera for Elektra, Pittsburgh Opera for Der fliegende Holländer, and rejoin Virginia Opera for Siegfried. In 2024, Albertson will return to the Dallas Symphony for their stand-alone performances of Das Rheingold, Die Walküre, and Siegfried, as well as their full Ring Cycle, led by Maestro Fabio Luisi. Last season’s engagements included Wotan in Die Walküre for Virginia Opera, a return to the Metropolitan Opera for their new production of Don Giovanni, and the role of Prometheus in Die Vögel with Pacific Opera Victoria.
Mr. Albertson made his European début at Opera Köln in Germany as Frank Maurrant in Street Scene, and he returned to Opera Graz in Austria for their 21-22 season, performing the title role in Der fliegende Holländer in more than 12 performances, as well as Wotan in their concert performances of Loriot’s Der Ring an einem Abend. Additionally, he returned to the mainstage of the Metropolitan Opera as Angelotti in Tosca, sang Wotan in Das Rheingold for both Virginia Opera and Opera Santa Barbara, and débuted 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 Zauberflöte, Dialogues des Carmélites, The Merry Widow, and Manon. His 2020 and 2021 Metropolitan Opera engagements were to include covering 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. [read more...]
"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”
"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.”
"...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."
"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.”