Kyle Ketelsen

Beethoven Ninth Symphony - Handel and Haydn Society
2024-03-16 14:00 - 15:00 (America/Los_Angeles) | Boston Symphony Hall, 301 Massachusetts Ave, Boston, MA, 02115, United States
“Be embraced, you millions!” Let the “divine spark” of joy catch fire in this iconic celebration of life. Guest conductor Raphaël Pichon, the maestro behind last season’s blockbuster Marriage of Figaro, delivers a fervently fresh take on this magnum opus in honor of its bicentennial. And it’s no surprise that our beloved chorus and orchestra tackle this uplifting music with both compassion and conviction.

necmusic · Beethoven: Symphony no 9 in D minor- Scherzo Molto vivace – Presto

Mozart Requiem - Lyric Opera of Chicago
2024-03-22 19:00 - 21:30, 2024-03-24 14:00 - 16:30 (America/Chicago) | Civic Opera House, 20 N Upper Wacker Dr STE 400, Chicago, IL, IL 60606, United States
Mozart Requiem – Chicago Lyric Opera

Lyric Opera of Chicago invites you to experience Mozart’s Requiem. Legend has it that Mozart believed he was writing the Requiem for his own funeral. Other composers completed it after his death, but — miraculously — this is not only a totally unified work musically, but one of the greatest choral pieces ever written. It offers a sublime beauty and dignity that leaves audiences profoundly moved and memorably uplifted. Under Music Director Enrique Mazzola, these concerts present a unique opportunity to celebrate the extraordinary Lyric Opera Orchestra and Chorus, and will also feature additional Mozart repertoire.
Language: Latin
Running Time: 2 hours and 15 minutes, including 1 intermission
Location: Lyric Opera House

Mozart · Requiem – III. Sequentia – c. Rex tremendae – Mozart – Binaural 3D Sound – Music Therapy

Verdi Requiem - Madison Symphony
2024-04-12 19:30 - 21:30, 2024-04-13 20:00 - 22:00, 2024-04-14 14:30 - 16:30 (America/Chicago) | Overture Center for the Arts, 201 State Street, Madison, WI, 53703, United States
The Verdi Requiem is one of those works that moves you to the very core of your being, combining spine-tingling power with moments of sublime beauty. The Madison Symphony Chorus joins us under the direction of Beverly Taylor, who has a very special love for this piece and will inspire the chorus to great heights. Two very special people who have graced us with their talents over the years, soprano Alexandra LoBianco and bass Kyle Ketelsen join debuting artists tenor Jonathan Burton and mezzo-soprano Margaret Gawrysiak (also of last summer’s Opera in the Park) as our soloists. Their glorious voices are alone worth the price of admission. I so love this piece and am so grateful to be able to perform it during my anniversary year. – John DeMain, Music Director

Orchestre de Paris · Giuseppe Verdi – Requiem – Dies Irae

The Hours - Richard - Metropolitan Opera
2024-05-05 15:00 - 18:00, 2024-05-10 19:30 - 22:30, 2024-05-15 19:30 - 22:30, 2024-05-18 13:00 - 16:00, 2024-05-21 19:00 - 22:00, 2024-05-24 20:00 - 23:00, 2024-05-28 19:00 - 22:00, 2024-05-31 19:00 - 22:00 (America/New_York) | Lincoln Center for the Performing Arts: Metropolitan Opera House, Lincoln Center Plaza, New York, NY, NY 10023, United States
Pulitzer Prize–winning composer Kevin Puts’s hit new opera, which played to sold-out audiences during its world-premiere production last season, triumphantly returns. The original trio of legendary divas—sopranos Renée Fleming and Kelli O’Hara and mezzo-soprano Joyce DiDonato—reprise their celebrated portrayals of three women from different eras whose lives are connected through Virginia Woolf’s novel Mrs. Dalloway. Bass-baritone Kyle Ketelsen also returns as the dying author Richard, and Kensho Watanabe conducts Phelim McDermott’s gripping staging of this heart-wrenching drama, adapted from Michael Cunningham’s acclaimed novel and the Oscar-winning film it inspired.

Don Giovanni - Leporello - Salzburg Festival
2024-07-28 18:00 - 21:00, 2024-08-06 18:00 - 21:00, 2024-08-09 18:30 - 21:30, 2024-08-11 19:00 - 22:00, 2024-08-14 18:30 - 21:30, 2024-08-19 18:30 - 21:30 (America/Los_Angeles) | Grosse Festspielhaus – Salzburg Festival, Hofstallgasse 1, Salzburg, 5020, Austria
For Romeo Castellucci, approaching Don Giovanni means facing up to the ambiguity and complexity as well as the inner disequilibrium with which Mozart imbues his opera’s protagonist. Vitality and destruction: in this ambivalence Castellucci sees one of the fascinations of this figure. Don Giovanni doesn’t think – he acts precipitately, without drawing breath. He hurls himself about, bringing destruction in his wake while constantly evading the individuals who are hunting him down. But at the same time, during his ceaseless race he creates space and time, generates life. One could say that his fatal destiny is the result of an excess of vitality.
The old myth of Don Juan, which incorporated legends as well as religious didactic fables, underwent countless new interpretations from the beginning of the 18th century. Da Ponte and Mozart took it further, developing it into a highly nuanced work in which tragedy and comedy co-exist. Woven into the fabric of the music from the very first bar is a palpable death drive foreshadowing the final catastrophe. And when the piece is playful – ‘giocoso’ – the game that is being played is very serious indeed. Even when Mozart’s music ostensibly breathes lightness, it contains caverns that open up to expose the deepest human needs.
Don Giovanni knows neither remorse nor guilt:
in order to satisfy his desires he attacks the law, discrediting and abrogating it. It is no coincidence that his first act in the opera is the killing of a father – the Father. The Commendatore embodies the Law of the Father. Like all murdered fathers in the dramas of Western literature, he returns as a ghost – he is omnipresent.
In Castellucci’s staging, a stripped and emptied – deconsecrated – church becomes Don Giovanni’s headquarters. A neutral architecture is intermittently charged with meaning through a precise dramaturgy of appropriate and inappropriate objects falling from above, or appearing and disintegrating, or seeking a point of equilibrium. It is as if we are witnessing a child at play who is intent on destroying his toys. In this sense Don Giovanni is a pantoclastic figure, i. e. one that wants to destroy everything, a child venting his frustration at not being able to obtain the object of his desire.
The three female protagonists in the opera stand for three different emotional universes. Donna Anna is of noble lineage and embodies the hard-to-reach highest object of desire. Her language and her pain are palpable in her gestures – which are those of a tragic heroine. Donna Elvira is a figure whose voice betrays confusion and inner turbulence. She represents the family, the fabric of society. Don Giovanni is horrified when he encounters her for a second time. The thought that he might find out he is a father appals him. In his case love is something that separates, divides, cuts off, kills – not something that brings forth. And then we have the peasant girl Zerlina, the body as object of desire par excellence, an object that for Don Giovanni is there only to be possessed. He assumes that he is entitled to her, even on the day of her wedding.
Blinded by his narcissism, Don Giovanni is incapable of perceiving women as unique individuals. For Act II, Castellucci has invited a large number of women who live in Salzburg to occupy the stage of the Grosses Festspielhaus. The women are coming to reclaim their own body, a presence, a biography. The horrific list from Leporello’s catalogue manifests as an element of flesh and blood that is touching and affecting. Together with the women, the choreographer Cindy Van Acker has designed trajectories across the space, dynamics of interaction, forms of reciprocity and connectivity. The presence of these women renders visible how the field of desire gradually develops an all-absorbing, devouring power. The polarizing schema of Don Giovanni as hunter and the women as the hunted is reversed.
From a conversation between Romeo Castellucci and Piersandra Di Matteo
Translation from the Italian: Sophie Kidd

Philharmonia Orchestra · Don Giovanni: Overture

Faust - Méphistophélès - Canadian Opera Company
2024-10-11, 2024-10-13, 2024-10-16, 2024-10-18, 2024-10-24, 2024-10-26, 2024-11-02 | Four Seasons Centre for the Performing Arts, 145 Queen St. W., Toronto, Ontario, MJ27+6P, Canada
Disenchanted by his lifelong quest for knowledge, the ageing philosopher Faust makes a pact with the devil and trades his soul for eternal youth—to disastrous consequences.
Tenor Long Long is the scholar Faust, whose pact with Méphistophélès (bass-baritone Kyle Ketelsen) promises to return him to the innocence of youth—and the love of Marguerite, performed by soprano Kseniia Proshina. Murder and madness ensue, with demons, witches, and a chorus of celestial voices rounding out this lavish spectacle directed by Amy Lane.

www.gbopera.it · Charles Gounod (1818-1893): “Faust” (1859)

Elektra - Orest
2024-11-10 18:00 - 20:00, 2024-11-12 19:30 - 21:30, 2024-11-15 19:30 - 21:30 (America/Los_Angeles) | Staatsoper Hamburg, Dammtorstraße 28, Hamburg, 20354, Germany
The war is over, and tragedy takes its course: the mother and her lover murder the father upon his return. The daughter hides her brother, keeping him safe. – Every day, Elektra thinks of her murdered father, plotting blood-stained celebrations of victory and waiting for the moment when her brother, reared as an avenger, returns. Under one roof with her father’s murderers, thirst for blood and revenge collide with the future plans of her younger sister, who longs for marriage and children, a life in harmony and bliss. The mother is governed by another delusion: “It is not a word, it is not pain, it does not pinch me or strangle me, … and yet it is so terrible that my soul wishes it had been hanged, and every part of my body cries out for death.” Sacrifice is meant to bring relief.
Director and Set Design: Dmitri Tcherniakov
Assistant Director: Thorsten Cölle
Costumes: Elena Zaytseva
Light: Gleb Filshtinsky
Video: Tieni Burkhalter
Dramaturgy: Tatiana Werestchagina

Jorge Coli · Richard Strauss – Elektra
