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!
This season’s engagements include 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. Next season will see Albertson join Maestro Gustavo Dudamel and the LA Philharmonic and 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. [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.”