Reviews
Critical Acclaim: A Collection of Reviewers' Thoughts on Kyle Ketelsen's Performances
Richard in The Hours by Kevin Puts
A star turn for bass-baritone Kyle Ketelsen, whose powerful voice expertly captured the character’s fight and frailty.
Golaud in Pelléas et Mélisande by Claude Debussy
Golaud & Mélisande meet in the forest. @Maestranza @marieriksmoen #Pelleasetmelisande pic.twitter.com/6sODHB6Gim
— Kyle Ketelsen (@kyleket) March 23, 2022
Kaspar in Der Freischütz by Carl Maria von Weber
Nick Shadow in The Rake's Progress by Igor Stravinsky
Kyle Ketelsen brings a suitably baleful black tone and Mephistophelean persona to the role of Nick Shadow.
Kyle Ketelsen brings a wonderful, devilish malevolence to his role as Nick Shadow, with his thin, angular features fitting his role perfectly
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.
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.
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.
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.
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.
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.
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.
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!'
As the devil Nick Shadow, Kyle Ketelsen mesmerises with his dark tone and his menacing presence.
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.
Escamillo in Carmen by Georges Bizet
Kyle Ketelsen was a brilliant Escamillo, approaching the role of the macho matador with just the right swagger. He showed off a brawny, dark-grained voice in the Toreador Song, but was able to find a softer, smoother tone as well in his loving exchange with Carmen in Act IV.
Kyle Ketelsen as Escamillo possesses a rich grainy bass baritone voice. He was every inch the cocky matador, and a plausible competitor for Carmen’s fickle affections. He delivered the Toreador Song in the second act with the necessary braggadocio, which contrasted admirably with his soft warmth of tone when expressing his love for Carmen in Act IV.
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.
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.
Supporting players also stole the show in Carmen: Kyle Ketelsen was an exciting, sexy Escamillo.
...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.
Kyle Ketelsen’s Escamillo was assured and confident, with plenty of vocal glamour.
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.
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'.
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
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.
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.
As Escamillo, Kyle Ketelsen sang elegantly and presented a sufficiently dashing matador.
Kyle Ketelsen is impressive as Escamillo, the smoldering toreador. His powerful voice is a good match for Larmore and Armiliato.
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.
...the superbly sung Toreador's Song of baritone Kyle Ketelsen...
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.
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.
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.
Kyle Ketelsen is an attractive Escamillo, his bass-baritone boiling with testosterone.
There was plenty of suavity, in voice and action, from bass-baritone Kyle Ketelsen's Escamillo.
Kyle Ketelsen...dispatched a role (Escamillo) notorious for its vocal challenges - its extremes of high and low - with unfailingly healthy, masculine tone.
Kyle Ketelsen was appropriately dashing as the toreador Escamillo, singing with suppleness.
KyleKetelsen had perfect Spanish macho as the Toreador and a fine voice to match.
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.
Young bass-baritone Kyle Ketelsen sets hearts throbbing and feet tapping with his "Toreador Song" and his macho stage presence.
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.
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.
...bass-baritone Kyle Ketelsen's declamatory style was made even better through the rich sonority of his voice.
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.
Kyle Ketelsen, an impressive young bass, delivered a stirring "The trumpet shall sound.
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.
I really liked bass-baritone Kyle Ketelsen, a local favorite, who nobly sang and acted the conflicted clergyman Raimondo.
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.
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.
