Mr Albertson shines in his Canadian debut!! Critics raved at his performance of Prometheus in Braunfell's Die Vögel!
"...he brought the weary, tortured character to life. His bass was phenomenal... impressed with his powerful interpretation of Prometheus...commanded in a Wagnerian turn as Prometheus..."
Next Mr Albertson heads to Virginia Opera next to sing The Wanderer in Siegfried, and complete his first Ring as Wotan!
Check out the recent Opera Canada "Artist of the Week" interview of Mr Albertson!!
The reviews are in!! Critics agree, Mr Albertson shines as the Dutchman at Oper Graz!
"...real voice for the Dutchman... impressive highs... clear and powerful... great stage presence... dark, virlie bass baritone..."
Check out the Multimedia Page for all Mr Albertson's latest video and audio recordings
Mr Albertson steps in as Wotan in Die Walküre with Dallas Symphony Orchestra under the baton of Jaap van Zweden on 6 hours notice to rave reviews!!!! Check out an interview about the whole experience here! (Operawire)
UPCOMING E V E N T S
Die fliegende Hollander
Dallas Symphony Orchestra
F E A T U R E D R E V I E W S
"[Prometheus] played by bass-baritone Kyle Albertson, he brought the weary, tortured character to life. His bass was phenomenal, although singing a very low part, Albertson had so much heft and brilliance to his voice that it pushed right through the massive score."
"The American Kyle Albertson as the title character (The Flying Dutchman) has a viril-dark bass baritone voice with absolutely secure height and clear articulation”
"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.”
"Kyle Albertson offered one of the nastiest,
most gleefully sadistic Scarpias 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."
"The most consistent singing came from the evening's Scarpia, incisive bass-baritone Kyle Albertson, who cut a striking figure onstage, using words with effective point. Albertson's instrument had sufficient bite for dramatic passages but he could clothe it in more honeyed tones for Scarpia's initial attempts to ingratiate himself with Tosca."
"Kyle Albertson... was a vocally powerful Scarpia, his bass-baritone appropriately thundering and commanding of attention. Theatrically, he also captured attention dressed in black, his every move calculating and menacing. Truly a disgusting individual that you couldn't help but find captivating."
"The choleric, narrow-minded Frank Maurrant gives Kyle Albertson a powerfully blazing, Wagner-struck baritone."
"A wonderful insight into his blossoming career as a first-rate Wagnerian."
"I can't recall the opera's final parting of father and daughter so emotionally intense...This high-intensity performance will curely rank as a legend in Dallas musical history."
"With a drop-dead gorgeous bass-baritone, Kyle Albertson is younger than the usual Dr. Bartolo, but he’s no less delightful an object of mockery. When he turns on his falsetto to demonstrate an aria from his youth, he sounds like the famously out-of-tune Florence Foster Jenkins."
“...splendidly resonant baritone, perfect diction, and impressive acting...”
“...commanding stage presence and burnished baritone provided the comic sun around which all of the lesser planets spun."
"...youthful, virile baritone was handsome."
"...nothing less than first rate."