"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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“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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"Bass-baritone Kyle Albertson, in his Pittsburgh Opera debut, made a colossal first impression. Commanding in presence and gifted with a voice that fits the role of the Dutchman like a glove, his wide range allows for effortless high tones, as well as powerful, resonant, clear and cavernous lows that ring out with apparent ease to the eye and a thrill to the ear. It took no effort whatsoever to imagine why Senta would be willing to sacrifice everything for this Dutchman, and it was easy to imagine a line behind her in the last moments of the music drama."

 

"[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."

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"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”

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"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."

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"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."

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"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."

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"The choleric, narrow-minded Frank Maurrant gives Kyle Albertson a powerfully blazing, Wagner-struck baritone."

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"A wonderful insight into his blossoming career as a first-rate Wagnerian."

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"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."

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"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."

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“...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."