Nick Shadow in The Rake's
Progress
"First and foremost,
the Royal Opera House's Rake boasts an A-list cast that is as fine as can
currently be assembled. Of especial interest to me was young bass Kyle
Ketelsen's role debut as Nick Shadow. He definitely did not
disappoint. Mr. Ketelsen always offers a consistent, rich, and suave
tonal delivery and he is possessed of one of the most secure techniques of any
voice heard before the public today.
"His is a
sizable instrument which can easily ring out in the house one minute, and scale
back to a hushed, intense sotto voce the next. He bought his usual intelligence
and superb musicianship to bear in what has to be considered a major role
assumption in his growing repertoire (and reputation). As wonderful as is his
vocalizing, Kyle also scores big - make that waaaaaay big - as an actor. In
fact, I would be hard pressed to think of any male singer active that is his
equal for stage presence, character delineation, vocal color, uninhibited
movement, and dramatic understanding. The card scene could have served as
Masters Class in theatrical nuance.
"Repeated
performances and even more experience will only deepen his already commendable
interpretation. You heard it from me: Kyle Ketelsen will be the Nick
Shadow of choice for future productions. I am not alone, the entire audience
roared its approval with a vociferous ovation."
- James Sohre, OperaToday.com
- Rake's Progress
"The best performance
is Ketelsen's Nick: dangerously attractive, he sings with sinister beauty
and manages to be entirely credible, despite (the director's)
intransigence."
- Tim Ashley, Guardian (London) - Rake's Progress
"Kyle Ketelsen
brings a suitably baleful black tone and Mephistophelean persona to the role of Nick
Shadow."
- Barry Millington, Evening Standard (London) - Rake's Progress
"Kyle Ketelsen
brings a wonderful, devilish malevolence to his role as Nick Shadow, with
his thin, angular features fitting his role perfectly."
- William Harston, Express (London) - Rake's Progress
"But, as ever, the
devil gets the best tunes and it is Kyle Ketelsen as Tom's diabolical
nemesis Nick Shadow who wins the evening's honours with his satisfyingly
deep-grained voice and theatrical flair. A must-see."
- Warwick Thompson, Metro (London) - Rake's Progress
"At the core of the work is the
partnership between Kyle Ketelsen’s sinister Nick Shadow and Toby
Spence’s gloriously wide-eyed Tom Rakewell. Ketelsen’s Nick – part
cinematic auteur, part Mephistopheles – was well judged, never quite slipping
into the pantomime that lurks just at the edge of Stravinsky’s piece. His vocal
performance was convincing, rich-toned and technically secure."
- Alexandra Coghlan, Oxford Times -
Rake's Progress
"The boys, Tom and Nick, were splendidly
served by, again, light-voiced Toby Spence and Kyle Ketelsen, the
heavy-weight of the evening. Spence successfully conveyed the quasi-adolescent
enthusiasm-cum-boredom of his character: Tom goes from being hyper-excited to
being frustrated (“I wish I were happy”, he says after taking a line of cocaine
and before bursting into laughter at the prospect of marrying Baba) and his
voice reflected it. Ketelsen’s character is far less complex: he’s the
devil and as the devil he sounded. He reminded me, once again, that he is one of
the best baritones around and that he’s as good an actor as he is a singer. I
look forward to his next night."
- Enrique Sacao,
MundoClasico.com -
Rake's Progress
"Kyle Ketelsen
is brilliant as the devil Nick Shadow. Like Toby Spence, he delivers
vocally, dramatically and musically; his portrayal is menacing and fully
credible as the devil."
- Agnes Kory,
MusicalCriticism.com
- Rake's Progress
"But it is Kyle Ketelsen's devil of a
Nick Shadow that steals the show. Standing cleanly, moving
deftly, and gesturing with a strong air of menace, his firm
bass-baritone voice booms to great effect, and his diction is the
strongest of the evening."
- Sam Smith,
MusicOMH.com
- Rake's Progress
"The poet's verses
are never clumsy. 'Many insist/I do not exist/At times I wish I didn't,' sings
the bass-baritone Kyle Ketelsen as the leering, menacing, hollow-eyed
devil Nick Shadow. His top volume remains rich and his diction is the
clearest of any on stage."
- Rick Jones, New Statesman (London) - Rake's Progress
"Ketelsen was,
as ever, a joy to hear from the moment he first opened his mouth, with smooth
chocolate tones ringing out effortlessly. His take on the Nick Shadow
character was less blatantly sinister than many, elegant in manner and only
ramping up the full demonic element at the end, with a huge 'I burn, I
freeze!'."
- Carla Finesilver,
Opera-Britannia.com
- Rake's Progress
"Kyle
Ketelsen is a manipulating devil-figure and makes a continuing good (!)
impression as the oleaginous manipulator, quite sinister at times."
- Colin Anderson, TheOperaCritic.com
- Rake's Progress
"As the devil Nick
Shadow, Kyle Ketelsen mesmerises with his dark tone and his menacing
presence."
- George Hall, TheStage.co.uk
- Rake's Progress
"The onstage
taker of souls though, Nick Shadow, is magnificently sung by the American
bass-baritone Kyle Ketelsen (a name that could spring from Auden's Paul
Bunyan). He has a glorious tone and sings with impeccable clarity."
- Mark Valencia, WhatsOnStage.com
- Rake's Progress
The Messiah
"More imposing a
presence, however, was young bass-baritone Kyle Ketelsen, whose beautiful
instrument rose to meet the many challenges - both expressive and technical -
contained in Handel's demanding score. Whether through his numerous displays of
virtuoso showmanship or in his ability to intelligently render the composer's
particular brand of forceful lyricism, Ketelsen, in his NAC debut, proved that
his is a voice to follow."
- Christopher Moore, The Globe and Mail (Ottawa) -
Messiah
"The
overall standout in the quartet was bass-baritone Kyle Ketelsen, who sang
with a rich, dark tone, rock-solid grasp of the music and a brilliant delivery
that featured clean, accurate coloratura. He was well-partnered in “The
Trumpet Shall Sound” by assistant principal trumpet Thomas Drake."
- Sarah Bryan Miller, St. Louis Post-Dispatch -
Messiah
"...bass-baritone Kyle Ketelsen's declamatory style was made even
better through the rich sonority of his voice."
- Jim Wilson, Richmond Times-Dispatch - Messiah
"Bass baritone Kyle Ketelsen has a large voice that is also very flexible. He is thrilling in the vocal fireworks of "The Trumpet Shall Sound."
- William Randall Beard, St. Paul Pioneer
Press - Messiah
"Kyle Ketelsen, an impressive young bass, delivered a stirring "The trumpet shall sound."
- Michael Anthony, Minneapolis Star Tribune
- Messiah
Raimondo in Lucia di Lammermoor
"Ironically, in an opera generally thought of as a soprano–tenor vehicle, the
most luxurious sheer vocalism here was fielded by the lower-voiced males — Quinn
Kelsey's Enrico and particularly Kyle Ketelsen's sonorous Raimondo.
Ketelsen's bass-baritone wove pure vocal velvet, and his characterization
was interesting: rather than the usual grey-bearded ideologue, this Raimondo
was a vibrant, young counselor who sympathized with the lovers' plight but also
understood political realities."
- Mark Thomas Ketterson -
Opera
News -
Lucia di Lammermoor
"I really liked
bass-baritone Kyle Ketelsen, a local favorite, who nobly sang and acted
the conflicted clergyman Raimondo."
- John W. Barker, Isthmus (Madison) -
Lucia di Lammermoor
"All
the performances are strong, especially Ketelsen, whose magnificent
timbre brings authority and warmth to his clergyman role."
"Breault
and Ketelsen are veteran Madison Opera performers of which we can never
hear enough."
- Michael Muckian, Capital Times (Madison) -
Lucia di Lammermoor
"
Bass-baritone
Kyle Ketelsen has consistently been a reliable performer in Madison Opera
performancees and was as robust in voice as ever as the clergyman to the Ashton
family, a voice of reason."
- John Aehl, Wisconsin State Journal (Madison) -
Lucia di Lammermoor
Villains in Les Contes d'Hoffmann
"Bass-baritone Kyle Ketelsen proved a very competent and appealing
performer in the multiple roles of Lindorf, Coppelius, and Dr.
Miracle. His Miracle was a brilliant bit of delivery. Not only did he
engage us with his strong singing ability but also with his theatrical rendering
of the evil Miracle. Despite his character's evil intent, you just
couldn't help but be mesmerized by his total presentation."
- John
Shulson, WHRO
Radio (Washington D.C.) - Les Contes d'Hoffmann
"Bass-baritone Kyle Ketelsen, as Lindorf, Coppelius,
and Dr. Miracle, provided a perfect combination of singing and acting
skills. His voice is deep and resonant and his laugh, as Miracle, defined
evil. In fact, his Miracle was riveting, Ketelsen's every movement
seemingly perfectly timed to the music. As Miracle picked up a violin
toward the close of Act III, and proceeded to play with devilish fervor, Ketelsen’s
fake fingering was even coordinated with the running violin passages coming from
the pit, adding flair and realism to the moment. And, when he ended by smashing
the violin into pieces, it simply capped off the impression."
- John C. Shulson,
ConcertoNet.com - Les Contes d'Hoffmann
"Kyle Ketelsen played the manipulating villain as well as the
undoers in
the other two stories. To each, he offered a vibrant bass-baritone, one
suffused with a high degree of emotional persuasiveness. Ketelsen
is a
talent. He knows how to use voice and body language to focus attention.
Better yet, what he does with voice and body at all times built dramatic
tension; he did not engage in fussy, detracting stage business; all was
purposeful."
- Peter Jacobi, Bloomington Herald-Times - The
Tales of Hoffmann
Zoroastro in Orlando
"
Kyle
Ketelsen scored a remarkable hit as Zoroastro: I have taken an
interest in the career of this young American bass-baritone since being mightily
impressed with his Speaker in 2004, and he does not disappoint: a real
Handelian basso, he caught just the right note of portentousness in his
opening aria, and he presided over Act 3, both vocally and dramatically, with
unaffected skill."
- Melanie Eskenazi -
Seen
and Heard International -
Orlando
"
and
bass baritone Kyle Ketelsen as a golden-toned Zoroastro completed
a strong cast."
- Fiona Maddocks - Evening Standard (London) -
Orlando
"
the
bass-baritone Kyle Ketelsen was excellent as Zoroastro.
"
- Richard Morrison - London Times -
Orlando
"For the presiding wisdom of Zoroastro there
is Kyle Ketelsen, who produces some of the most convincing low notes to
have been heard for years in diesen heil'gen Hallen."
- Michael Tanner - Spectator.co.uk -
Orlando
"Kyle Ketelsen, another natural stage
animal, lends welcome substance to Zoroastro."
- Andrew Clark - Financial Times (London) - Orlando
"Ketelsen sang cleanly, with focused tones
and no hint of an aspirate."
- John T. Hughes - ClassicalSource.com
- Orlando
"
There's
also a stronger cast, with Kyle Ketelsen bringing some gravitas to the
magician Zoroastro."
- George Hall - The Independent (London) -
Orlando
"
Of
the other four singers, all of high quality, Kyle Ketelsen (Zoroastro)
particularly impressed with his rich and even bass."
- Agnes Kory -
MusicOMH.com
- Orlando
"
Kyle
Ketelsen
was an authoritative Zoroastro"
- Matthew Rye - The Telegraph (London) -
Orlando
"
The
vocally rich and dramatically confident Kyle Ketelsen is as convincing as
the director’s prosaic view of Zoroastro allows."
-
Edward Bhesania - TheStage.co.uk -
Orlando
BBC Proms
"The
riveting performance was dominated by Keenlyside's sexy, aristocratic Count and
Kyle Ketelsen's superlative, big-voiced Figaro. That the latter can
more than stand up to a star of Keenlyside's international renown shows his
calibre, which indicates a star in the making."
-
Dominic McHugh - MusicOMH.com
- BBC Proms
“The Scottish Chamber Orchestra offered
consolation with some sparkling playing and, out of the eight singers who
appeared in the solos and ensembles, there were two who could make the drama
catch fire in the most dampening circumstances: the baritones Simon Keenlyside
and Kyle Ketelsen, who made Mozart's music seem as alive now as on the
day it was written.”
Richard Fairman - The
Financial Times -
BBC Proms
Escamillo in Carmen
"
The
evening's most impressive debut, though, came from American bass-baritone
Kyle Ketelsen as Escamillo, the swaggering toreador who succeeds Don
José in Carmen's affections. He dispatched the famous Toreador Song with
ample tone, even in the treacherous low phrases that so often fade into
inaudibility, and he brought a measure of romantic ardor to the final scene with
Carmen."
- Joshua Kosman, San Francisco Chronicle -
Carmen
"The swaggering bullfighter Escamillo is a good fit for baritone Kyle
Ketelsen, whose grainy, darkly handsome voice is comfortable throughout the
wide range of the "Toreador Song." He cuts a youthful (very
nearly collegiate) figure onstage, and captures Escamillo's
rock-star-size ego deftly by singing most of the role straight out past the
footlights as if preening in some unseen mirror."
- Joe Banno,
Washington Post - Carmen
"Supporting players also stole the show in Carmen:
Kyle Ketelsen was an exciting, sexy Escamillo."
-
Heidi Waleson, Wall Street Journal - Carmen
"...Kyle Ketelsen is robust and convincing as he muscles out anyone who
stands between him and Carmen. His dominant presence makes it easy to see how
Don Jose can be so easily pushed into the background."
- T.L. Ponick,
Washington Times - Carmen
"Kyle Ketelsen’s Escamillo was assured and
confident, with plenty of vocal glamour."
-
Judith Malafronte,
Opera
News - Carmen
Bass-baritone Kyle Ketelsen was very convincing as the
toreador Escamillo. In addition to sexy good looks, his smooth
voice bloomed effortlessly on the big notes."
-
Wayne R. Anderson, MGW Magazine - Carmen
"Baritone Kyle Ketelsen was the arrogantly
assured bullfighter Escamillo. Mr. Ketelsen brought us the
essence of the character by cutting a handsome, young and swaggering
figure. His voice was strong, smooth and focused bringing a deft
interpretation to the 'Toreador Song'."
-
S.D., Ópera Actual (Spain) - Carmen
"Even
Kyle Ketelsen, who plays Escamillo, the preening bullfighter who
finally steals Carmen from José, avoids overreaching. This is
particularly difficult to pull off while strutting around in a suit of lights or
turning out a tavern by bragging about how chicks dig matadors."
- Lew Prince, Riverfront Times (St. Louis) - Carmen
"The
redeeming graces of this Carmen were...and the completely magnificent
voice of Kyle Ketelsen as Escamillo. Ketelsen looked
the part, too, chillingly macho and utterly comfortable onstage."
- Paul Horseley, Kansas City Star - Carmen
"Kyle
Ketelsen's Escamillo had the proper swagger, bolstered by good looks, good
moves and a big, dark bass-baritone voice; no wonder Carmen fell for him."
- Sarah Bryan Miller, St. Louis Post-Dispatch - Carmen
"As Escamillo, Kyle Ketelsen sang elegantly
and presented a sufficiently dashing matador."
-
Olivia Stapp, San Francisco Classical Voice - Carmen
"Kyle Ketelsen is impressive as Escamillo, the smoldering
toreador. His powerful voice is a good match for Larmore and Armiliato."
- Lucia
Anderson,Free Lance-Star (Fredericksburg, VA) -
Carmen
"her chemistry with Kyle Ketelsen’s
dashing Escamillio is palpable. For his part, Ketelsen brings a
strong baritone and just the right amount of swagger to the part. He completely
dominates the stage during the familiar “Toreador” song in Act II.
- Chuck Lavazzi, KDHX Radio
(St. Louis) - Carmen
"...the superbly sung Toreador's Song of baritone Kyle Ketelsen..."
- Ronald G.
Precup, Intermission
- Carmen
"Kyle Ketelsen is much more watchable and handsomely projects his
macho in the Toreador Song. He has a wonderful clear and clean
bass-baritone with nary a scraping of his lower tones."
- Bob Anthony,
Free-lance Arts Critic,
Review 4U
- Carmen
"From the minute he charges the stage, Kyle
Ketelsen makes Escamillo his own. It is an immense pleasure to
hear him sing his solo in Act Two. As an actor, he molds the Toreador into
something larger. His towering voice and cocky swagger bring a breath of
life to Escamillo, who is arguably the most important character in Carmen."
-
Rob Levy, GatewayArts.net - Carmen
"The Toreador played almost like a matinee idol by bass-baritone, Kyle
Ketelsen, is the final fling for Carmen and he is charming as a
Valentino."
- Rich Massabny,
Arlington Weekly News - Channel 33 - Carmen
"Kyle Ketelsen
is an attractive Escamillo, his bass-baritone boiling with testosterone."
- Scott Cantrell, Dallas Morning News - Carmen
"There was plenty of suavity, in voice and action, from bass-baritone Kyle
Ketelsen's Escamillo."
- Tim Smith, Opera
News & Baltimore
Sun - Carmen
"Kyle Ketelsen...dispatched a role (Escamillo) notorious for
its vocal challenges - its extremes of high and low - with unfailingly healthy,
masculine tone."
- Steven Brown,
Orlando Sentinel - Carmen
"Kyle Ketelsen was appropriately dashing as the toreador Escamillo,
singing with suppleness."
- Mark Stryker, Detroit
Free Press - Carmen
"KyleKetelsen had perfect Spanish macho as the Toreador
and a fine voice to match."
- Bob Anthony,
Free-lance Arts Critic,
Review 4U
- Carmen
"Abetted by a precisely focused, cultivated bass-baritone voice,
Kyle Ketelsen brought all the dignity and respect due the matador
Escamillo. When singing the famous "Toreador Song", his presence
dominated the stage."
- Andrew L. Flanagan, Kettering-Oakwood Times -
Carmen
"Young bass-baritone Kyle Ketelsen sets hearts throbbing
and feet tapping with his "Toreador Song" and his macho stage presence."
- Burt Saidel, The Oakwood Register - Carmen
Henrik in Maskarade
"Full-blooded
singing...
from an energetic cast dominated by Brindley Sherratt’s perpetually indignant
father and Kyle Ketelsen’s hyperactive manservant."
- Richard Morrison, London Times - Maskarade
"The
vocal star, however, was American bass-baritone Kyle Ketelsen, stealing
the show as Henrik, Leander's servant. He was imposing in the brief
role of the Sprecher in Die Zauberflöte earlier in the year. Here at last
was a part large enough for his talents, and he was well-rounded dramatically as
well as making sure every word was perfectly articulated."
- Dominic McHugh,
MusicOMH.com - Maskarade
"All
this is brought off with gusto by the cast - even if the servant classes
out-perform their masters, especially Ketelsen's Henrik"
- Tom Service, The Guardian (London) - Maskarade
"Kyle
Ketelsen is crisp, spry and personable in the Harlequin role of Henrik,
making his master Leander...seem a touch stolid in comparison."
- Rupert Christiansen, The Telegraph (London) - Maskarade
"There
is a terrifically charismatic performance from the American Kyle Ketelsen
as the manservant Henrik."
- Edward
Seckerson, The Independent (London) - Maskarade
"...notwithstanding
Herculean efforts by the performers. American bass-baritone Kyle Ketelsen
(Henrik) was full of so much energetic comic business that he seemed to
be plugged into the national grid."
- Bloomberg News (bloomberg.com) - Maskarade
"Kyle Ketelsen as Henrik threatens to
steal the show throughout, not least because of his lovely voice but also
because of the pleasure he gives as an actor with a well-tuned sense for comedy."
-
A.C. Grayling,
Online Review London
- Maskarade
"Performance-wise Kyle Ketelsen
was most impressive, his insightful baritone finding its way with ease around
the text."
- Evan Dickerson,
Seen
and Heard International - Maskarade
"leads Gail Pearson (Pernille), Kyle
Ketelsen (Henrik), Emma Bell (Leonora), and Michael Schade (Leander)
sing their under-written roles more sweetly than they deserve to be sung."
- Anna Picard, The Independent (London) - Maskarade
"The
whole cast provides excellent performances, in particular Kyle Ketelsen
as Henrik."
- Barbara Diana,
Giornale della
Musica.it - Maskarade
"Jeronimus...and
Kyle Ketelsen's capricious portrayal of the worldly-wise Henrik
were the undoubted stars."
- Richard Whitehouse,
Classical
Source.com - Maskarade
"Ketelsen is quite a find and was
entrancing as the Figaro like servant, reminding me of a young Thomas Hampson; I
do hope we can hear more of him."
- Robert Hugill,
Music & Vision - Maskarade
Méphistophélès in Faust
"As for the
malevolent tempter, Mephistopheles oozes with the diabolical charm of a
charismatic con man from Hell. Inhabiting the role, Kyle Ketelsen glides
across the stage with sadistic and malicious intent, never more alive than when
smilingly predicting the death of loved ones or corrupting the virtues of young
maidens. Ketelsen’s voice conveys a disdain for humanity in magnetic
voice, infusing his librettos with irresistible contempt for the world."
- Brad Richason, Twin Cities Performance Art Examiner (Minneapolis) -
Faust
"But the designated
scene-stealer is Mephistopheles, and bass-baritone Kyle Ketelsen
is a graceful ringleader for the well-paced festivities, one with a powerful
voice and the kind of smoothness, charisma and spookiness that inspires
simultaneous attraction and aversion. More than anyone else on stage, he must
engage the audience in the concept of opera as dance, and he does so while
diabolically directing eight members of Varone's New York-based troupe."
- Rob Hubbard, Pioneer Press (St. Paul) -
Faust
"This devil dominates
every scene. And happily, he has at his disposal an actor-singer with the
strength to embody that evil — bass-baritone Kyle Ketelsen (the
impressive Don Giovanni for this company in 2006). This Mephistopheles was no
jaunty boulevardier with a flower in his lapel. This was a sinister force of
nature, humorless, confident of his powers and unstoppable. Ketelsen
dominated every scene he was in, and his singing was equally impressive —
robust, incisive and rich in tone."
- Michael Anthony,
MinnPost.com
(Minneapolis) -
Faust
"Kyle
Ketelsen, a formidable actor, captured Méphistophèlés's jaunty
elegance; though not a dancer, he held his own amid the gyrations of Varone's
trained bodies."
- Larry Fuchsberg,
Opera News
- Faust
"Mr.
Ketelsen discovered a far greater wealth of nuance in Gounod's alarmingly
charming devil, and whatever price was paid in glitterati dazzle was amply
compensated with an imaginatively conceptualized performance that ultimately
rendered the production more effective by its presence. Ketelsen brought
the physicality of a master dancer to the role, and captured its sardonic humor
and dangerously sadistic allure as few have done. Some may ignore his
performance given its juxtaposition with that of a more celebrated colleague;
one suspects however, that if Ketelsen possessed some exotic French or
Slavic name that nobody could pronounce, such comparisons would be entirely off
the table.
"
- Mark Thomas Ketterson,
Concerto.net
-
Faust
"Thankfully the
opera has a very distinctive villain in Mephistopheles, played by Kyle
Ketelsen. He devilishly outshines Faust and Marguerite. Ketelsen is
slimy, crafty, and draws the audience’s attention whenever he is on stage. At
one point a staircase moves smoothly about the stage, carrying Mephistopheles
and making it appear as if everything on stage is under his control."
- Rebecca Mitchell, Daily Planet (Minneapolis) -
Faust
"The
company’s new Méphistophélès, making his role debut with MOT, was
young American bass Kyle Ketelsen. A gifted singing actor on track
for a fine international career after being well-tested in journeyman roles by
various companies, Ketelsen has a handsome voice — two even octaves of
hefty sound, with a clear tonal edge — and a superb sense of drama that
informs both his singing and acting. His communication with the audience
is palpable."
- John Koopman,
Opera News
- Faust
"Kyle Ketelsen's
Méphistophélès was full of oily charm -- we're all in trouble if the
devil is this smooth -- and he sang with focused strength and suppleness."
-
Mark Stryker, Detroit Free Press - Faust
"But this opera's success depends heavily on the
voice and panache of Méphistophélès,
and in bass-baritone Kyle Ketelsen, MOT has the poised, maleficent,
vocally resplendent puppeteer needed to sell the play. This Méphistophélès
indeed managed everything, starting with his own darkly vibrant
music. Ketelsen, singing the role for the first time, strode and slinked
about the stage with practiced assurance."
- Lawrence B.
Johnson, Detroit News - Faust
Figaro in Le Nozze di Figaro
"Lyric's mounting
found one of its most effective protagonists yet in bass-baritone Kyle
Ketelsen - no mean accomplishment, given that he follows the likes of Ramey,
Terfel and D'Arcangelo in this production. Ketelsen's sonorous "Non
piu andrai" was delightfully rendered, and he fielded the wily major-domo's
emotional hurtles with ease. (He has great legs, too.)"
- Mark Thomas Ketterson,
Opera
News
-
Le Nozze di Figaro
"Ketelsen,
playing a good guy this time following his devilish turn as Mephistopheles in
Gounod's "Faust" earlier in the season, brought a firm yet flexible
bass-baritone to Figaro's two arias, "Se vuol ballare" and
"Aprite un po' quegli occhi," in which the Count's manservant railed
against the perfidy of women.
Since the comic
drama turns on the extended battle of wits between Figaro and the Count -
who has mounted an assault on the virtue of Figaro's intended, Susanna - the
American "barihunk's" ability to create a virile, likable hero in both
voice and manner, while keeping the recitatives crackling, was very much to the
point."
- John von Rhein, Chicago Tribune -
Le Nozze di Figaro
"
Bass-baritone
Kyle Ketelsen makes a dashing Figaro who is not the usual glib
hothead; Ketelsen not only sings the role with aplomb, but brings depth
to an often one-dimensional character."
- Dennis Polkow,
NewCityStage.com
-
Le Nozze di Figaro
"Likewise,
Kyle Ketelsen cut a fine figure as Figaro, a role which this
bass-baritone has sung internationally, and which rang true from the opening of
the opera. Ketelsen's deep voice stands out from some of the other
baritones who take up Figaro, and it sounds out strongly during the
ensembles, which require Figaro's distinctive lines to be clearly
audible. In solo passages, especially "Non piu andrai," Ketelsen
was even and persuasive, as his voice has a pleasant consistency. More than
that, his acting helped to carry off the fine climax in the fourth act, as he
faces up to Susanna and the Countess's deception."
- James L. Zychowicz,
Seen
and Heard International
-
Le Nozze di Figaro
"Kyle Ketelsen was an unforgettable
Figaro. So powerfully realized was his playing that one felt that this
big-hearted, warm and lovable guy was someone one knew well. Intelligent,
sharp, totally present, with just the right mix of bravado and charm,
Ketelsen performed like an athlete in peak form. He is the kind of
artist for whom singing and acting meet seamlessly, in spontaneous and inspired
conception. Even when he was just watching and listening, Ketelsen
told us everything he was feeling; when he began to sing, it was pure magic."
- Wayman Chin,
Opera
News
-
Le Nozze di Figaro
"Kyle
Ketelsen boasts a trumpeting bass-baritone, which he used to full effect in
his signature arias, 'Non più andrai' and 'Aprite un po'quegli occhi.' "
- Roberto Herrscher,
Opera
News
-
Le Nozze di Figaro
"
Ketelsen
owns the role of Figaro, singing with confidence and aplomb."
- Keith Powers, Herald (Boston) -
Le Nozze di Figaro
"American
bass-baritone Kyle Ketelsen is a vigorous and athletic Figaro
whose inviting voice comes off best in his many scenes with others."
- Andrew Patner, Chciago Sun Times -
Le Nozze di Figaro
"
Kyle
Ketelsen was a charismatic Figaro, inhabiting the role with a
resonant bass-baritone that was gracefully wielded."
- Jeremy Eichler, Globe (Boston) -
Le Nozze di Figaro
"Kyle Ketelsen
created a virile Figaro, and sang with power and consistency. His
voice leans towards the bass end of the spectrum. It is large, focused, and
easily audible from the all areas of the house. His diction was also quite
good, as was his comic timing."
- Ed Tapper, Edge (Boston) -
Le Nozze di Figaro
"
Kyle
Ketelsen’s Figaro is a loveable scamp, singing with gusto and swagger."
- Neil Fisher, London Times -
Le Nozze di Figaro
"Every one of the main
players is excellent. The young American bass-baritone Kyle Ketelsen
is the liveliest and most human of Figaros."
- George Hall,
TheStage.co.uk -
Le Nozze di Figaro
"Kyle Ketelsen was an
excellent Figaro, full of life and charm. His voice has a very
natural, unforced quality, and his precision was ideal for Mozart."
- Dominic McHugh,
MusicOMH.com
-
Le Nozze di Figaro
"Kyle Ketelsen is good at
suggesting the revolutionary ardour that runs through Figaro’s veins,
while still managing to seem a happy-go-lucky fellow, and his youthful
bass-baritone promises much for the future."
- Richard Fairman, Financial Times -
Le Nozze di
Figaro
"Both Kyle Ketelsen, a strong bass-baritone,
and Brett Polegato...have garnered considerable attention with various
recordings and appearances...Mr. Ketelsen, singing Figaro, showed
an impressive, rich voice, immediately striking and sustained...these are fine
points for someone with a very good voice."
-
Anne Midgette, New York Times - Le Nozze di Figaro
"Great interest centered on the Figaro, Kyle
Ketelsen, a bass-baritone making his company debut with these
performances. He boasts a handsome face and an athletic stage
presence. He brought a broad sense of humor and robust, well-rounded sound
to the part."
-
William V. Madison,
Opera
News
-
Le Nozze di Figaro
"...featuring the spirited Kyle Ketelsen in
his company debut as Figaro...on top of the work's rhythms and polished
enough in matters of phrasing to lead. He was a source of sympathy as well
as comedy as the servant whose Count of a master seeks to bed his fiancé,
Susanna."
-
Adam Baer, New York Sun - Le Nozze di Figaro
"Kyle
Ketelsen, who played Don Giovanni (Leporello) two years ago for the company,
was a powerfully masculine Figaro, full of bravado and guile and singing
with a graceful ease."
- John Farrell, U.DailyNews.com (Los
Angeles) -
Le Nozze di Figaro
"An excellent Kyle Ketelsen, tireless
Figaro, ironic to just the right point, ready to be aggitated among the
auditorium seats by the enchantresses and "mariti scimuniti."
- Barbara Catellani - Il Giornale di Genova (Genoa) - Le Nozze di Figaro
"The two leads are a delight and make it
worthwhile for even the connoisseur to see this 'Figaro.' Kyle
Ketelsen, who has been giving a series of strong and stronger performances
here in recent seasons, sings Figaro with just the right swagger, the
right insecurity, the right timing. His voice is deep and agile – the
notes pop out – and he phrases the part as if he's speaking it, with the
inflection, the tone and the attitude. He's physically nimble too, and gambols
about the stage."
- Timothy Mangan - Orange County Register (CA) - Le Nozze di Figaro
"Orange County favorite Kyle Ketelsen
returns as an exuberantly full-voiced Figaro. Possessed of a
smoothly insinuating tone, he deftly manages to thwart his master’s schemes with
his fiancée, Susanna."
- Michael Van Duzer -
Showmag.com - Le Nozze di Figaro
"
Kyle
Ketelsen
has a bounce in his step and snap,
crackle and pop in his voice. He catches the anger at his master’s
superiority and relish
es
his own schemes."
- Gene Warech - Laguna Beach Independent - Le Nozze di Figaro
"Ketelsen and Banion, in particular, deserve high praise
for the zest and honesty they gave their portrayals."
- Peter Jacobi,
Bloomington Herald-Times - The Marriage of Figaro
"Kyle Ketelsen is an altogether engaging Figaro."
- George
Walker, WFIU Radio, Bloomington, IN - The Marriage of
Figaro
Leporello in Don Giovanni
"Far and away the most commanding performance was that of bass-baritone Kyle
Ketelsen as Leporello. He has a naturally beautiful, superbly trained
voice, rich and clear at the low end, smooth and flexible in the middle range
and effortless at the top. Good as his sound was, his acting was better.
Ketelsen
fully realized the role. He was rewarded at the curtain-call by an uninhibited
outburst of cheering and a standing ovation."
- Jess Anderson,
Opera
News - Don Giovanni
"...Ketelsen, whose voice & presence
dominated from the very first scene..."
"Only the antics of the
enabling valet Leporello came close to saving the performance..."
"Ketelsen as Leporello
is so much better, all around, vocally & dramatically..."
"As for performances, Ketelsen
was head & shoulders above the others, vocally & dramatically."
-
www.voxincamera.com
- Don Giovanni
"Bass-baritone Kyle Ketelsen made a triumphant LAO debut of his own as
Leporello, displaying a robust, warm and wondrously flexible voice, along
with an engaging physical stage presence."
- Carl Byron,
Opera
News
-
Don Giovanni
"...Kyle Ketelsen’s young, handsome and infinitely insinuating Leporello
made one wish that he and his master had swapped roles in Act 2, not merely
cloaks."
- Alan Rich, Los Angeles
Weekly - Don Giovanni
"
As
Leporello, the Don's much-abused man Friday, bass-baritone Kyle Ketelsen
delivers his own star-turn. Trelinski presents him as a bald-headed harlequin --
in marked contrast to the fuchsia-clad Don. But with excellent diction and
resonant tone -- to say nothing of superb comic timing and limber movements --
Ketelsen, in his company debut, proves nobody's fool. An account of the
famous Catalog Aria, for example, is as memorable for his terpsichorean antics
as for his perfect patter-song delivery."
- David Marmelstein, Los Angeles Daily News - Don Giovanni
"The appealing and hardy-voiced bass-baritone Kyle Ketelsen was an
endearing Leporello."
- Anthony Tommasini, New York Times -
Don Giovanni
"
He’s
(Giovanni) surrounded by a strong cast. Kyle Ketelsen seconds him
admirably as a lowlife Leporello and their duo-scenes are impeccable."
-
TheStage.co.uk -
Don Giovanni
"
Kyle
Ketelsen, as abused servant/fool Leporello, delivers his role with
fine humor. His accounting of his master's 2,065 conquests, in "Madamina! Il
catalogo e questo," is a highlight of the first act."
-
Madeleine Shaner, Hollywood Reporter -
Don Giovanni
"
W
ith
his superb comic timing he was the perfect foil, neatly bringing out their
symbiotic relationship (Leporello and Giovanni)."
-
Intermezzo
-
Don Giovanni
"
Kyle
Ketelsen
also managed to overcome the oddities of the production and make
something interesting of his character, Leporello. His Italianate
sound and excellent linguistic skills helped him to mould a persuasive
interpretation. And both his voice and bearing were far more elegant than those
of (Giovanni)."
- Dominic McHugh,
MusicalCriticism.com -
Don Giovanni
"Leading the cast around Giovanni, as his ill-used
but resilient servant Leporello, is (bass-) baritone Kyle Ketelsen,
who combines a gorgeous voice with wry wit."
-
Lawrence B. Johnson, Detroit News - Don Giovanni
"He and Kyle Ketelsen, who portrayed
Giovanni's sidekick Leporello, were as good together as Martin &
Lewis, Batman & Robin. Ketelsen was magnificent..."
-
Bill Rice, Schenectady Gazette - Don Giovanni
"The two redeeming performances come from baritone Kyle
Ketelsen as Leporello and...who both have lush, robust voices."
-
Paula Citron, Classical 96.3 FM (Toronto) - Don
Giovanni
"high honors belong to Stella Zambalis' Donna Elvira and
above all to Kyle Ketelsen's Leporello. Ketelsen is a
superlative Leporello, singing with deep, rounded color and seemingly
effortless dynamics, his Italian diction as secure at whatever velocity the
words fly. The relationship of servant to master and master to servant, in
disguise and out of disguise, lies at the core of this opera. Ketelsen
and Garvin are an apt pair, appreciating how to tease the unspoken trust that
binds them: class warfare as comic betrayal."
-
Andrew Adler, Louisville Courier-Journal - Don Giovanni
"Quilico...drove the performance but was greatly aided
by the deft comedic gifts and keen singing of bass-baritone Kyle Ketelsen
as the suffering servant Leporello. Ketelsen's 'catalog aria' was
a highlight."
- Mark
Stryker, Detroit Free Press - Don Giovanni
"As Leporello...Kyle Ketelsen not only had the resonance and
power of an excellent bass-baritone voice, he also pressed on with the insolence
this character should have, even while vacillating between comic accomplice in
the Don's schemes and embarrassingly craven behavior. Ketelsen has
a fine, broad, comic talent. The "catalog" patter song,
enumerating Don Giovanni's many, many seductions, had great pace and was
flawlessly done."
- John
Aehl, Wisconsin
State Journal - Don Giovanni
"...Kyle Ketelsen,
as Leporello, is nearly equally gratifying. Ketelsen's
burnished sonority and leonine strength of tone serve to redress the balance
between Don Giovanni and his servant, making them seem equal cohorts in their
crimes against morality."
-
Chuck Klaus, Syracuse Post-Standard - Don Giovanni
"Also terrific was Kyle Ketelsen who has a
powerful yet remarkably nimble bass-baritone voice. As Leporello he
seemed to be everywhere on stage, never settled in his allegiance but always
ready with a quick and dry remark."
-
Joseph Dalton, Albany Times Union - Don Giovanni
"Kyle Ketelsen’s
Leporello was also vocally satisfying. His fresh characterization
incorporated dashes of practical wisdom and courageous honesty, making him the
Don’s moral superior in addition to being his frustrated sidekick."
- John Guinn,
Guinn Thoughts -
Don Giovanni
"Outstanding in the Sunday matinee were the resonant Leporello
of Kyle Ketelsen and..."
-
Olin Chism, Dallas Morning News - Don Giovanni
"...Kyle Ketelsen's resourceful, well-sung Leporello."
- Daniel Cariaga, Los
Angeles Times - Don Giovanni
"This leaves Kyle Ketelsen's Leporello with the lion's share of
audience sympathy. Ketelsen sings and acts authoritatively, creating a
fully rounded character who is all-too-aware of his master's failings."
- Michael Van Duzer,
Showmag.com - Don Giovanni
"Kyle Ketelsen’s resonant Leporello
was superbly done."
-
David Shengold,
ClassicsToday.com - Don
Giovanni
"Kyle Ketelsen as Leporello displayed agile phrasing and
burnished sound. He sang a little too beautifully for the part, we
thought."
- Timothy
Mangan,
Orange County Register - Don Giovanni
"Kyle Ketelsen, a finalist in the "Operalia 2000"
competition, offered the most consistent performance as Leporello, the
Don's side-kick and sometimes loyal servant. Ketelsen displayed an
impressive baritone voice and an acting ability that in the hands of a more
focused director could be honed to full effect."
-
Jim Farber, Daily Breeze (Torrence, CA) - Don Giovanni
"bass-baritone Kyle Ketelsen revealed a
burnished voice and knack for comedy."
-
John Pitcher, Rochester Democrat and Chronicle - Don Giovanni
"...Leporello (an extremely funny Kyle Ketelsen)..."
- Michael
Muckian,
Capital Times (Madison) - Don Giovanni
"(Bass-) Baritone Kyle Ketelsen deserved the unrestrained cheers
that greeted his bows. He has not only enormous flexibility with a
superbly trained and naturally beautiful large voice, but he also showed
impressive range and nimble subtlety in a role that is very taxing. These
were commanding, awesome performances."
- Jess Anderson,
Madison Isthmus - Don Giovanni
Sprecher
in Die
Zauberflöte
"Vocally, the most fluent, expressive and commanding
singing came from the relatively minor character of the Speaker, sung by
bass-baritone Kyle Ketelsen. He was an impressive Oroveso in
Bellini's "Norma" two years ago, and his career -- in that exciting
stage when a singer keeps adding new and more demanding roles to his résumé --
is growing spectacularly. He overshadowed the singer playing Sarastro, who
is, presumably, the Speaker's boss."
-
Philip Kennicott, Washington Post - DieZauberflöte
"...and
an outstanding young American bass, Kyle Ketelsen, who promises much in
the role of the Speaker."
- Hugh Canning, London Times - DieZauberflöte
"Now we come to the singers who should have exchanged
roles - the Sarastro...and the Speaker of Kyle Ketelsen.
Both are good singers with the full range but Ketelsen has the stronger
voice and would have made a more imposing and grander-sounding Sarastro."
-
Bill Russell, WFOS-FM (Washington D.C.) - DieZauberflöte
"Kyle Ketelsen
delivered the Speaker's lines with a ripe, glowing bass-baritone."
- Tim Smith,
Opera
News
-
Die
Zauberflöte
"A very fine performance, and it was not the
evening’s only one, since the American baritone Kyle Ketelsen made a
notable debut as the Speaker: it is this role which the other great
Papageno of our day, Matthias Goerne, considers to be the most interesting in
the work, and Ketelsen gave it the authority and grandeur which it needs,
and his voice is beautiful, evenly focussed throughout the range and with a
fine, burnished tone."
-
Melanie Eskenazi,
Seen
and Heard International - DieZauberflöte
Abimelech in Samson et Dalila
"The
smaller but important roles of Abimelech (Kyle Ketelsen) and the
Old Hebrew (Gregory Reinhart) were beautifully done."
- Washington Times -
"Fine,
thoughtful singing from Kyle Ketelsen as Abimelech."
"Bass-baritone
Kyle Ketelsen was vocally excellent as Abimelech, whose
contributions to the singing excellence were cut short due to his character’s
death early in the action."
- John C. Shulson,
ConcertoNet.com -
Colline in La Bohème
"Kyle Ketelsen (memorable as Leporello in last
season’s Don Giovanni) sang Colline with such richness and
self-possession that he threatened to steal the show."
-
Michael Van
Duzer,
Showmag.com - La Bohème
"...Ketelsen's dark, gorgeous voice and sardonic persona made Colline
a standout."
- Sarah Bryan Miller, St. Louis Post Dispatch - La Bohème
"Kyle Ketelsen made a sonorous Colline."
- John Allison, Opera,
September, 2001 - La Bohème
"As the most introspective of the four friends,Colline is seldom memorable, but Ketelsen’s huge, richly
sonorous voice was impressive indeed, coupled with excellent acting.
He is surely destined for a great career."
- Jess Anderson,
Madison Isthmus - La Bohème
"Rounding out the core sextet were Kyle Ketelsen's eloquent Colline
and..."
- Lawrence B.
Johnson, Detroit News - La Bohème
Oroveso in Norma
"Too bad there isn't more in the score for the Druid
leader Oroveso to sing. This character can become a windy bore in
the wrong hands. But bass-baritone Kyle Ketelsen makes such a
splendidly smooth, weighty, oracular sound in the role, and he phrases with such
intelligence, that were it not for (Hasmik) Papian, he'd walk away with the
show."
-
Joe Banno, Washington City Paper - Norma
"As Norma's father, Oroveso, Kyle
Ketelsen filled the hall with his rock-solid, gorgeously nuanced
bass-baritone."
-
Tim Smith, Baltimore Sun - Norma
"In the smaller role of Oroveso, young
American bass-baritone Kyle Ketelsen demonstrated a supple smoothness of
tone and was surprisingly convincing as the warlike yet compassionate ancient
Druid."
-
Washington Times - Norma
"Bass-baritone Kyle Ketelsen as Norma's father Oroveso
was a more convincing character, though in a lesser capacity. His
forthright manner and measured tone exerted a calming influence amid all the
angst and tension."
-
Charles McCardell, American Record Guide - Norma
"
As
Oroveso, Kyle Ketelsen produced a rock-solid, gorgeously shaded
bass-baritone; his really was the voice of authority."
- Tim Smith,
Opera
News
-
Norma
"
Kyle
Ketelsen
most convincingly played the father of Norma with delightfully
soothing tones which is most unusual but pleasantly avuncular for bass
roles."
- Bob Anthony,
Free-lance Arts Critic,
Review 4U
- Norma
"Belying
his youth, bass-baritone Kyle Ketelsen made an impressive Oroveso.
The voice is beautiful: firm, smooth and dark enough in timbre for the
portrayal of a much older man...he mastered his character's paternal anguish and
frustration, something many of his more experienced counterparts never
manage."
- Stephen Wigler,
www.andante.com - Norma
"Far more interesting, and impressive, is the young
bass-baritone Kyle Ketelsen, who brought convincing grandeur and
unaffected style to the role of Oroveso."
-
Philip Kennicott, Washington Post - Norma
"Norma's
father, Oroveso, is wonderfully sung by bass baritone Kyle Ketelsen,
who acts this rather stock role with a nice reserve, avoiding too much of the
grand gesturing that can turn the role of an 'elder' into a hideous cliché."
- Kate Wingfield, Metro Weekly (Washington DC) - Norma
"and the most impressive American bass-baritone Kyle
Ketelsen as Oroveso."
- John C.
Shulson,
ConcertoNet.com - Norma
"Kyle Ketelsen as Oroveso, Norma's father,
inhabited the role with refined dignity and rich sound. We must watch for
him."
- Vera
Tilson, The Georgetowner (Washington D.C.) - Norma
"A surprise I'll admit was Kyle Ketelsen's Oroveso.
The surprise was that he's billed as a "bass-baritone" and Oroveso
calls for a bass like Christoff or Ghiaurov, to name two fine ones of the
past. Mr. Ketelsen's dark tones and bass-centered sound showed he
was in their class and gave a splendid high priest."
-
Harold Sokolsky,
The Operaphile - Norma
"Kyle
Ketelsen was an authoritative, convincing Oroveso who sang with a
rock solid technique and a supple legato. Here was a warlike Druid who
could also show compassion."
- Maria Nockin, Opera Japonica - Norma
Masetto in Don Giovanni
"Kyle
Ketelsen brought firm, flexible vocalism to the good-hearted bumpkin, Masetto."
-
John von Rhein, Chicago Tribune - Don Giovanni
"Isabel Bayrakdarian and Kyle Ketelsen were a
winning pair as the peasant lovers Zerlina and Masetto. Ketelsen's
Masetto was savvy and quick-witted, though helpless against the Don's
machinations."
-
Wynne Delacoma, Chicago Sun-Times - Don Giovanni
The Creation
"To Kyle Ketelsen,
singing the archangel Raphael as well as Adam in the third
section, fell the lion's share of the arias and recitatives. Just two
nights earlier we heard his winning Masetto in Lyric Opera's "Don
Giovanni." Here he got to display a more serious side of his
artistry, and he did so with a firm, resonant bass-baritone that invested Raphael's
utterances with grave dignity."
- John von Rhein, Chicago Tribune - The
Creation
"On Saturday at the Civic Opera House, Ketelsen
opened a run as the long-suffering Masetto in Lyric's splendid new
production of Mozart's "Don Giovanni.'' The depth of his rich, powerful
voice was a charming foil for Zerlina's perky soprano in Mozart's comic
tragedy. But he assumed an aura of ringing command Monday in the role of Raphael,
the narrator who sets the stage for descriptions of God's handiwork in 'The
Creation.'"
In a lengthy recitative describing the creation of the
animals, he and the orchestra vied to outdo each other's imagery. The
violins' slow, stalking strokes conjured the gait of powerful lions, while a
delicate flute evoked surprisingly fastidious cattle. The sepulchral growl
of Ketelsen's lowest bass note topped them all, however, prompting the
audience to giggle at its imitation of a truly ghastly, creepy, crawly worm."
- Wynne
Delacoma, Chicago Sun-Times - The Creation
Don Giovanni in Don Giovanni
"Kyle Ketelsen, a young American
bass-baritone with a sizzling career start, sang exceedingly well and was a
torrent of personality in the title role. His Don really just
didn't give a damn about anything. He reveled in the role and broke
through the constraints of some very unlikely costuming (top hat, spats - even a
monocle!) to totally inhabit his character."
- John Koopman,
Opera News
-
Don Giovanni
"We get all of this from Kyle Ketelsen
in what is a really interesting, non-standard characterization that suggests,
moreover, that this particular Don wouldn't have scored with those 1,003 women
without his retainer Leporello's help. And, throughout, Ketelsen
sings suavely and intelligently, both in the flurry of the Champaign Aria and
sweet nuances of the Serenade."
- Michael Anthony, Minneapolis Star Tribune - Don Giovanni
"Saturday's
opening-night tandem of Kyle Ketelsen and Patrick Carfizzi was a guilty
pleasure to watch and a joy to listen to as they scurried about."
- Rob Hubbard, St. Paul Pioneer Press -
Don Giovanni
"Kyle Ketelsen's resonant bass-baritone gave full measure
to the
music of the Don, and as a portrayer of the licentious hero, he proved
believable, supplying appropriate dosages of the wily, the smooth, and the
swashbuckling. Here is a young talent with potential."
- Peter
Jacobi, Bloomington Herald-Times - Don Giovanni
Friar Laurence in Roméo et Juliette
"
Baritones
Malcolm MacKenzie, as Mercutio, and Kyle Ketelsen, as Friar Laurence,
both familiar to local audiences, have an almost flawless veneer to their
voices. Each gave a marvelous performance, balancing the higher ranges of
their counterparts with a polished timbre that almost glistened."
- Michael Muckian, Capital Times - Roméo et Juliette
"
a
few of the more notable performances were by Kyle Ketelsen, whose
impressive bass-baritone lent gravity to the role of Friar Laurence."
- John Aehl, Wisconsin State Journal (Madison) - Roméo et Juliette
Verdi Requiem
"Kyle Ketelsen offers his bass-baritone support and leads with
warm tones that tend toward austerity at the appropriate moments. Too
often basses get lost in the depths of their own notes, but Ketelsen
rises above throughout the performance."
- Michael Muckian,
Capital Times (Madison) - Verdi Requiem
"Ketelsen sang handsomely."
- Daniel Cariaga, Los
Angeles Times - VerdiRequiem
"Ketelsen, the youngest of the group was very much at home
in the
'Confutatis maledictis.' His voice reminds one of the richest
chocolate
desserts one could hope for. And the quartet as a unit was as pleasant as
a gorgeous Caribbean sunset."
- Dick Jaeger, Lafayette Journal and
Courier - Verdi Requiem
Guglielmo in Così fan Tutte
"Best of all was
the elegant, suave Guglielmo of Kyle Ketelsen, last season’s Don
Giovanni (and next season’s Figaro), a stylish young Mozartian clearly on his
way."
- Alan Rich,
Opera
News -
Così fan Tutte
"...Cutler and Kyle Ketelsen are exciting
finds. Ketelsen is a baritone with abundant resonance and
crackle. He has been singing dramatic roles, with a specialty Mozart, at
regional opera houses and is ready for even more. He has the swagger down,
and can stoop to vulnerability."
-
Gene Warech, Laguna Beach Independent - Così fan Tutte
"
The
cast looked and, for the most part, sounded young and marvelously involved:
Pamela Armstrong and Kristine Jepson as the donne mobile, Eric Cutler and
the remarkably suave Kyle Ketelsen as their conniving swains."
- Alan Rich, Los Angeles Weekly -
Così fan Tutte
"...lovers were superbly sung by Eric Cutler...as
Ferrando, baritone Kyle Ketelsen as his comrade in arms, Guglielmo..."
-
Jim Farber, Daily Breeze (Torrence, CA) - Così fan Tutte
"Kyle Ketelsen was a mellifluous Guglielmo."
-
Chris Pasles, Los Angeles Times - Così fan Tutte
Madison Symphony Christmas Spectacular
"Ketelsen's
magnificent baritone brought new life to the holiday chestnut while a group of
eight female backup singers -- we'll call them the Kylettes -- filled in the
high end."
- Michael Muckian, Capital Times - Madison Symphony Christmas Spectacular
"Kyle
Ketelsen transformed the nice but usually unexceptional 'Walking in a Winter
Wonderland' into an exciting few minutes. He almost overwhelmed the sound
system with a resonant and warm and strong baritone voice."
- John Aehl, Wisconsin State Journal - Madison Symphony Christmas Spectacular
St. Peter in Too Many Sopranos
"
Kyle
Ketelsen
showed effective stage presence and a firmly focused voice as St.
Peter."
- Lawrence A. Johnson,
Opera
News
-
Too Many Sopranos
Beethoven's Ninth Symphony
"Only
the bass-baritone, the American Kyle Ketelsen, saved the face of the
quartet in which the soprano had a disagreeable voice, the mezzo
didn't listen to herself and the tenor had a completely metallic voice."
-
Milvia Piaza, cantv.net - Beethoven's Ninth
Symphony
Basilio in Il Barbiere di Siviglia
"Kyle Ketelsen sang Basilio, the slimy musician, with
appropriate oiliness. His singing of "La Calunnia" in the first
act was hilarious. His is a solid technique and a wonderfully resonant
sound."
- Tim Lindeman,
Greensboro News & Record - Il Barbiere di Siviglia
"Luckily, bass-baritone Kyle Ketelsen...had no such problems in
the classic deep-voice role of the crafty and opportunistic music teacher Don
Basilio...and was able to milk his
famous "Slander" aria for all it was worth. He had wonderful low
notes during the Act II scene in which everyone, for different reasons, was
trying to make him think he was sick and leave--'yellow as a corpse.'"
- William Thomas
Walker,
Spectator
Online - Il Barbiere di Siviglia
Il Bonzo in Madama Butterfly
"
Bass-baritone
Kyle Ketelsen had the voice, the presence and the stature to stand on the
stairs and condemn the apostate (or anyone else who crossed him). Recently out
of graduate school in voice at Indiana University, his is a career to watch so
that in a few years you can say you heard him when."
- Elizabeth and Joe Kahn, Raleigh Independent Weekly - Madama Butterfly
Don Magnifico in La Cenerentola
"Kyle Ketelsen offered all the richness of his
bass-baritone to the role
of Don Magnifico, he who gets the opera's buffo patter numbers. This
young Metropolitan Opera Auditions winner spares nothing vocally or
dramatically (or, as in this case, comically). He knows how to take over
a character and did so. His voice is a most assured instrument. Not for a
moment did it falter. Luster and full-throatedness marked Ketelsen's
work of the evening."
- Peter Jacobi, Bloomington
Herald-Times - La Cenerentola
King René in Iolanta
"Space does not permit listing the double cast of singers for both
operas, but a few outstanding talents include Kyle
Ketelsen....Perhaps in
time they will join successful graduates of the University of Iowa like
Simon Estes, Michele Crider, David Hamilton, and Dennis Petersen in Europe
as well as many others active in the U.S."
- Sven Hänsell, Opera,
August, 1995 - Iolanta
"...when the performer in him takes over, a sense of poise - of
assurance, of control, of expansiveness - pours forth. This is a young
man with so much potential, as he's shown us."
- Peter Jacobi, Bloomington Herald-Times
Angelotti in Tosca
"In his Met debut the American bass-baritone Kyle Ketelsen brought a
robust voice and matching physique to the role of Angelotti."
- Anthony Tommasini, New York Times -
Tosca
"Kyle Ketelsen
made a very worthy debut in the brief role of Angelotti."
- Russell Platt, Newsday (New York) -
Tosca
"Kyle Ketelsen's Angelotti, the escaped political prisoner,
was forcefully portrayed. His baritone voice was clear and sure."
- Tim Lindeman, Greensboro News and Record -
Tosca
Selim in The Turk in Italy
"The focus...turned to the possessor of the title role, that Turk
in Italy. Kyle Ketelsen makes an athletic swashbuckler of
Selim...Ketelsen knows how to draw attention to himself
because he knows
how to invade a character and both fathom and fashion its full dimensions.
He also happens to have a very sound bass-baritone voice that carries
weight and interpretive flexibility. This young man could go places."
- Peter Jacobi, Bloomington Herald-Times - The Turk in
Italy
Gremin in Eugene Onegin
"...made a strong impression as Olga. Even more, so did Kyle
Ketelsen, the basso portraying Prince Gremin, Tatyana's
husband to
whom Tchaikovsky gave a juicy, love-expressing aria."
- Peter Jacobi,
Bloomington Herald-Times - Eugene Onegin
Dvorak Te Deum
"...(Ketelsen) possesses a big voice that spins forward to the
audience, including a beautiful baritone high range without any hint of
stridency. His crisp pronunciation and well-defined phrasing were
impressive."
- Charles Conrad, Anderson Herald Bulletin - Dvorak
Te Deum
Fred Graham/Petruchio in Kiss Me Kate
"Of course, it didn't hurt to have Kyle Ketelsen...at the
top of the list. Ketelsen...has a baritone worthy of Verdi. So,
the music of Porter held no dangers for him. And he avoided the trap
some opera singers fall into, that of taking such a vocal assignment too
seriously, too ponderously, too weightily. Ketelsen entered into
the material comfortably. His baritone rang clearly, liltingly, even
comically when called for. And he proved a charming actor, both
as...Fred Graham...and as Shakespeare's Petruchio..."
- Peter Jacobi, Bloomington Herald-Times - Kiss Me
Kate
1999 Marguerite McCammon Vocal Competition
"Ketelsen's performance on both occasions showed off a deep, spacious
voice with a strong low range. His repertory was clearly designed to
demonstrate an impressive acting range as well...In
both cases, he was totally at home on the stage, creating a miniature
operatic scene through sheer stage presence, without benefit of costume
or props. Lean and flexible for `buffo' roles, Ketelsen also has the
stature to create more imposing characters convincingly -- as he did in
King Rene's arioso from Tchaikovsky's Iolanta and Blitch's pleading
"Hear me, oh Lord," from Floyd's Susannah."
- Wayne Lee Gay, Fort Worth Star-Telegram - 1999 Marguerite McCammon
Vocal Competition,
Ft. Worth Opera
"There was little disagreement at the Hall, though, regarding the
first place winner. Kyle Ketelsen, the handsome bass from Iowa, won
people over from the start, with the drunken false bravado of "Quand la
flamme de l'amour" from Bizet's La Jolie Fille de Perth. His "Madamina"
from Don Giovanni was too fast, but his comic timing put the aria over. In the
finals, he displayed impressive command of the Russian idiom in an arioso
from Tchaikovsky's Iolanta, and then conveyed the self-loathing of the
fallen preacher in his version of "Hear me, Oh Lord!" Throughout, his voice
never lost its burnished tone, nor did it betray weakness at any point
in the register. Alone among the contestants, he emerged as a fully
developed artist. The Bass Hall crowd agreed with the judges, awarding him the
Audience Favorite Award as well. An afternoon with some controversy ended
in consensus."
- Kristian Lin, Ft. Worth
Weekly - 1999 Marguerite McCammon
Vocal Competition,
Ft. Worth Opera
Orfeo 2000 Competition
"Deep voices bore the stamp of the finale (and of the whole
competition). Many favored the American sunnyboy Kyle Ketelsen. He was
in high course with many, and impressed with his presenting charm and the
wonderful well-balanced voice."
- Burkhard
Wetekam, Hannoversche Allgemeine, Orfeo 2000 Competition, Hannover
Staatsoper, Hannover, Germany
2002 Dutch International Vocal Competition
's-Hertogenbosch
"a
few potential candidates for the finals presented themselves...the
two best candidates so far...were the American Kyle Ketelsen and...Ketelsen,
in arias of Bizet and Puccini, and a song of Bowles, appeared to be an
all-around singer with an excellently trained and quite experienced adult voice
who impressed the audience with his self-confident and pleasant
performance."
- Nico Koolsbergen and Marjolijn Sengers, Brabants
Dagblad -
2002 Dutch
International Vocal Competition 's-Hertogenbosch
"Absolutely favorite is the American bass-baritone Kyle Ketelsen.
He’s an all-around singer and seems not to have any restriction or
limitations. He knows excellently
how toperform and uses his voice in all
types of genres evenly beautiful."
- Nico Koolsbergen and Marjolijn Sengers, Brabants
Dagblad -
2002 Dutch
International Vocal Competition 's-Hertogenbosch
"Bass-baritone Kyle Ketelsen demonstrated once more that he can
do everything...Kyle Ketelsen, amongst other pieces, again sang "Tryptique"
(which brought him the Award of the Netherlands Lied) and the virtuoso
'catalogue aria' of Don Giovanni. Here stands a real all-around and
experienced
artist."
- Nico Koolsbergen, Brabants
Dagblad -
2002 Dutch
International Vocal Competition 's-Hertogenbosch