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Kyle 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..."

Next up, Mr Albertson returns to Virginia Opera for the Jonathan Dove version of Die Walküre, a company debut with Opera Pacific Victoria, and a return to the Metropolitan Opera!

Watch this space! New audio and video clips coming soon!

Also, check out the first of its kind, Augmented Reality Tosca!  Pioneered by Phoenicia Festival of the Voice,, Mr Albertson lends his voice and likeness to be captured in this groundbreaking combination of technology and opera.  The future of opera is only limited by our imagination.







Go to the Multimedia page to listen to Mr Albertson sing Scarpia from Tosca, including the Phoenicia Festival of the Voice's Augmented Reality clip!

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)



Die Vögel

Pacific Opera Victoria


Leporello (Cover)

Don Giovanni

Metropolitan Opera


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F E A T U R E D   R E V I E W S

"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."

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