In 1997 award winning film director Lothar Spree and his crew accompanied Ikaia-Purdy on a brief concert and symphony tour of the Hawaiian Islands. In conversation with the author of these notes he shared his impressions. Briefly summarized: Before the tour, aside from being greatly impressed with the tenor's singing and acting skills, he had found the tenor, personally, to be an unusually good natured fellow, obviously well-respected by his colleagues, and seemingly one who enjoyed having a good time, but lacking any of the "hard edged ambition" that one might have expected." And why did Spree load up his company and equipment to travel fourteen hours to Hawaii - the earth's most remote island chain? Because

repeatedly in interviews, when Spree asked who the tenor enjoyed listening to, and to what types of music he was devoted, the answers came back somewhat confusingly for the European.

Naturally, Ikaia-Purdy is a great fan of opera - "Sutherland, Callas, Scotto, Bergonzi, Pertile, the Three (- of course! Why does that always come as a surprise?), and again Bergonzi." His collection of records, CDs and 78s is legendary among colleagues, numbering in the tens of thousands. "Tradition is sooo important. And, those early recordings have so much to offer us, technically, stylistically and, many were personally prepared by the composers. It would be idiotic not to listen very closely. VERY closely!"

But, beyond that, he "loves slack key guitar especially George Kuo and Dennis Kamekahi, as well as Hawaiian Stars Emma, the Kahauano Lake Trio, Marlene Sai, the Brothers CAZ, Israel " - a great voice, sadly he died so young," his cousin Palani Vaughn, and "of course Keali'i Reichel." Naturally, these names were unknown to the German director. Furthermore, questions put to the tenor regarding the unusually mellow, dark-colored timbre of his voice were met with answers such as "you want to know what I sound like? Listen to my high school choir, because I have a pretty typical Hawaiian voice, and at home everyone sings."

Visits to Ikaia-Purdy's Frankfurt-area home deepened Spree's impression that the tenor's racial heritage is integral to understanding, and in turn portraying the man; for photographs of ancient hula, painted images, posters and artifacts of Hawaiian origin cover the walls. And, most amazingly: a column in his formal dining room had been converted by local artist and friend Carin Damerow into a paper machè palm!

The popular Austrian television host, singer, composer, guitarist and poet, Peter Horton, counts himself a convert to Hawaiian music. A joint concert with Ikaia-Purdy some years back involved his accompanying "Ka'ena" - a traditional song made popular by the Cazimeros. He loved the song - and soon was gifted with the Brothers CAZ - "Best of..." albums, IZ and as much slack-key as the tenor could find in Europe. Today Horton - a Viennese-born, Tyrolean resident - performs Hawaiian songs in his own concerts -and this past September he joined the tenor for a duet concert, no less than half of which was performed in Hawaiian! Indeed, so successful was the pairing that future concerts are now being planned.

For his part, film director Spree's experiences in Hawaii - following dozens of interviews, attendance at musical and hula dance events, topped off by a day's visit to the tenor's alma mater, Kamehameha High School - convinced him that Ikaia-Purdy's once seemingly "pleasant, good natured personality" was in fact rooted in a virtually spiritual sense of connectedness with his beloved islands - all references made by Ikaia-Purdy to "home" mean "Hawaii." And the artist's life and work profoundly reflect his native Polynesian culture, its traditions of music and dance, its religious heritage, and its family-centered orientation.

As it turns out, Ikaia-Purdy's family is a most musical one. In addition to the above mentioned Palani Vaughn - "beautiful baritone, could have sung opera, easy!"- on his mother's side are his cousins Michael and Billy Lowe, the first a slack key guitarist, the second active in rock. All of his aunts and uncles sing and play ukulele, including his oldest living Auntie Bertha, who still sings, chants and dances, for her daughter's Hula school in the San Francisco Bay Area. Hawaiian slack key legend Sonny Chillingsworth is from his father's Purdy Ohana. In fact, the tenor's late father was a capable guitarist. And his niece Darcey is a Cazimero, from the Brothers CAZ Ohana - probably Hawaii's most famous entertainers.

The ancient Hawaiian handicrafts are also alive in his family, where, together with Auntie Bertha, his Auntie Foony is recognized as one of the State's masters in the crafting of leis, Hawaii's famous hand-woven flower and leaf necklaces. "When I was asked to fly back to Hawaii a few years ago to co-host the German television magazine ‘Nix wie Raus' the crew was so impressed with my Aunty Foony's lei making and knowledge of our Island culture that I am pretty sure she ended up being in the show more than I was! They keep re-broadcasting that episode - so I have friends all over Europe that feel like they know her."   

Certainly one of the tenor's proudest moments occurred when he was invited by the Hawaiian legislature to sing at the State's capital. On that occasion a bill was passed recognizing his contribution to Hawaii and its rich cultural heritage.  A copy of the Resolution signed by all of the State's Assemble members, including its author, opera lover and singer Alex Santiago, hangs proudly on his bedroom wall. 
 

Opera with the Aloha Spirit: The practical realities

So what does this all, as a practical matter mean? First, it certainly goes a long way to explaining Ikaia-Purdy's utter lack of arrogance and egotism, and his extreme discomfort in situations where western culture demands "self assertiveness." In Hawaiian culture snobbishness is flatly taboo. This orientation may well be somewhat disadvantageous in the modern operatic world, particularly in a Western society which teaches its children "nice guys finish last" and "the squeaky wheel gets the grease." Efforts of the tenor's managers and agents to get him to "show some teeth every once in awhile," fall on deaf ears. He is committed to the belief that if he "does the work well - always improving," honors his commitments, and "creates no tension," he will be rewarded with a successful career.

Among the benefits of his Polynesian disposition: he is troubled by none of the many "singer - ism-s" common to so many colleagues. Perhaps because in Hawaii everyone sings, whenever and where ever, he cannot understand colleagues' complaints that "this or that upper tone in tonight's performance was affected by yesterday's cheese sandwich" or, "the whole milk products thing!" or, the inability of some colleagues to sing seated, or lying down or while moving; for "singing is as natural as breathing. If being a singer makes you live like a monk, to deny yourself every pleasure, then - is it really worth it?" For at the bottom-line Ikaia-Purdy is committed to the idea that if he isn't "having fun on-stage, then neither is my audience."

Perhaps because of this positive orientation, he is untroubled by bad health. The occasional bad cold has only rarely, very rarely, forced him to cancel. "A singer is paid to sing. He must be technically prepared to sing, including with a head cold, or stomach flu, or, more or less, whatever." His usual patience reaches its limit when it comes to colleagues who cancel too often, or who seek to "hedge their bets" by having an announcement made that "despite Senior X's sudden indisposition he has bravely agreed to go on, and save the show. - I mean, give me a serious break. Naturally there are genuine exceptions, but too few. For example, I can remember beautiful performances with Leontina Vaduva in "Manon", and also with my Vienna colleague Eliana Coelho in "Jerusalem", when they sang while really sick. These two are true professionals. There are naturally others, but some singers - ... let's not go there. " 
  
 

Singing as a Reflection of the Soul

Ever the Hawaiian, the singer believes that one's singing is a reflection of one's soul. "Criticism of this soprano's or that tenor's weight, or lacking beauty, only reveal the critic's ignorance, and often prejudice. If these unkind few had their way, no one knows how many great historic careers would never have come to pass. And, what of the cult of comparisons?! I find there are as many different kinds of beautiful voices, and approaches to a role, as there are singers who sing them. This enriches our life. I take genuine pleasure in the beautiful voices and performances of my colleagues, and so I am often in the theater audience. This surprises some people. Why? We are opera singers; we are not engaged in some form of ‘vocal Olympics' where one's success is credited another's failure. How small minded!"

"At the bottom-line we have to remind ourselves that we are really only there for those open-hearted souls who still love opera, or those whom we can win to its audiences."

"I am often asked by younger singers what more they can do, learn or study in order to succeed. I am naturally uncomfortable with such questions, as I am still learning, and studying, and watching my colleagues perform, and working in the studio with my teacher. I presume only to tell them "to lighten up" that we are entertainers. "Have fun. If you aren't having fun, neither will your audience be."

 

 

 

 

 

  Pictures in article: 1) Hawaiian flag;  2) Portrait after Kauai recital;  3) Concert with Peter Horton;  4) Keith with mother (Fidelia), father (Ivan), brother (Kevin) and sister (Pulei);  5) Informal Portrait from article interview;  6) as Don Carlo, from the Vienna State Opera;  7) Duet concert with baritone Markus Brueck; 8) Recital with pianist Erika le Roux;  9) Wiesbaden Kurhaus concert with Johann Strauss Orchestra, Herbert Siebert, cond.