In preparing this major redrafting and over-hauling of Keith Ikaia-Purdy's long outdated homepage - in spite of the tenor's busy calendar and his genuine reluctance to "discuss himself" - the author managed to sit down with the tenor. The following are notes and impressions garnered from those conversations, and reflect various observations I found interesting and-or explanatory of the Hawaiian tenor's somewhat singular career path. Also included are themes upon which he is passionate. So, for persons interested in "his view from the stage" I offer the following:

Once a baritone  ....

Given the natural beauty of his high lying tenor voice, it is surprising to learn that though Ikaia-Purdy did indeed set out in life to pursue a stage career, he had no intention of doing so as a singer. In fact, his initial onstage successes were earned in his native Hawaii as an actor on stage and in voice-over dubs of Japanese films and television shows.

That Ikaia-Purdy ever became any kind of a singer is, according to family lore, a bit of a miracle. Born with collapsed lungs, it was unclear whether he would survive; and if he did, it was clear that he would suffer a lifetime of breathing difficulties. Or there was the third alternative: Among family members it is accepted as simple fact that the prayers of his maternal grandmother, Eliza Chung - the family's matriarch - led to his sudden and complete recovery. Today the tenor credits his grandmother (and God!) for the phenomenal breath capacity and control for which he is justly renowned. And, although we are getting ahead of ourselves in the narrative, Ikaia-Purdy insists that any re-telling of his life as a singer begin and end with his late grandmother and the faith in which he was raised.


The tenor's first musical experiences were modestly garnered as a choir baritone with the Concert Glee of Hawaii's internationally famous Kamehameha Schools. So, when asked today where he began his musical training - rather than naming a university or conservatory - he answers without hesitation "in the choir at Kamehameha." And while he insists that he garnered no acclaim whatsoever as a singer there, he proudly concedes that the character of his voice today was already evident then - being, in his words "typically Hawaiian in timbre and range: standard issue Hawaiian." It was as an "undistinguished Concert Glee member" that he was invited to sing in the chorus of Hawaii Opera for MEFISTOFELE and RIGOLETTO. His interest was piqued, but strictly as a new audience member, increasingly avid record collector and fan. (He remains all three.)

It was only during university in southern California that his remarkable vocal potential was discovered - and that "quite by accident" when he was cast in a role requiring him to sing. His auditors promptly persuaded him to add "vocal performance" as a major. He was soon performing such diverse baritone parts as Papageno (ZAUBERFLÖTE) and Scarpia (TOSCA), as well as doing the bass solos (!) in THE MESSIAH in college and regional productions. (In typically modest fashion, he completed his degree in Business Administration "should opera not pan out.")

By the time he graduated from Redland's University, he had earned a fine regional reputation, as well as amassing numerous operatic performance awards and study grants. However, even though scholarship juries were unanimous in their praise for the quality of Ikaia-Purdy's baritone voice, individual jurors were increasingly suspicious of its categorization. So, after fulfilling his remaining engagements, he "retired" to the San Francisco Bay Area where, while supporting himself variously as a computer data entry clerk, bank teller, chorus singer, theater usher and "whatever-else-came-along," he began the difficult work of retraining his voice as a tenor.  

At this point in the discussion of "himself" Ikaia-Purdy is growing increasingly uncomfortable. In fact, it turns out "the whole idea of a homepage makes me very uneasy - mostly because it could lead to the false impression that, if I have had some success in my career, it was of my own making. Nothing could be farther from the truth. The one thing I want to make sure is that the new site gives credit where it's due. I have always been lucky - blessed really - with the right folks helping me at the right time. My applause is for them."

... Now a tenor: Maestros Gregg, Olla &Bergonzi                                          

Retraining as a tenor was just such a time - when the right folks stepped up. But finding the right teacher for this


re-training took some time. To his great good fortune, after modest progress in three different studios, he began studies with Maestro Peter Gregg. The teacher-pupil "fit" was perfect, and so Maestro Gregg - who had worked closely with Mario Del Monaco and Enrico Rosatti - remained Ikaia-Purdy's sole teacher until his death during the spring of 2004. 

Early in this period of restudy, Ikaia-Purdy was invited to sing for "the truly great artist and good soul" Plácido Domingo. The encouragement of that great tenor, a former baritone himself, gave the younger singer inestimable reassurance that he was on the right road. Meanwhile the tenor had begun an association with Maestro Steven Olla, who in addition to being the conductor of his first tenor performances (in CAVALLERIA, RIGOLETTO and BOHÈME,) became and remained his principle coach and repertoire consultant - as well as a beloved friend - until his own untimely death in the Autumn of 2004.

... Dedication and Appreciation

And so, while he deeply misses the friendship, counsel and support of Maestros Gregg and Olla, he is secure in the knowledge which they so generously imparted to him over the years - and wishes therefore, in all humility, to dedicate his career to their legacy.

And, the tenor is likewise grateful to another recently passed friend, without whose support he would not have been blessed to build a career. "Because I came out of nowhere - from Hawaii and then the West Coast provinces just for a few years before I landed in Europe and Vienna and such - I never went through the patronage building process Mainland singers generally do. I don't have to tell you: it cost a lot to become a singer. So I worked - multiple jobs - so I could get to be a singer. And since I never did the major U.S. programs - like Merola or Chicago and the like, I never even came into contact with 'the whole patronage thing.' Mind, I am not complaining - but it is simply so: I worked to pay my lessons; to fly to auditions; and whatever else it took.... One friend, Anna Marie Fulton who was by no means rich - other than in life and spirit - insisted I let her pay my fare to take part in the Verdi Voice competition. I couldn't have gone otherwise. I went -and never looked back. But for Anna Marie Fulton - and her daughter Andrea! - I would still be doing computer processing."  So along with Peter Gregg and Steven Olla, Ikaia-Purdy has dedicated himself to being equal to the faith and generosity Ann Marie Fulton shared with him.


... Modest Beginnings...

He officially began his "new career as a tenor" by amassing experience under Maestro Olla's baton, singing with Andrea Fulton's Bracebridge Dinner ensemble, and as a regular soloist with Irene Dalis' ground breaking Opera San Jose. To his "great surprise" the tenor's career sky-rocketed when he won the National Bel Canto Competition and took a Gold Medal in the Concorso Voce Verdiane in Busseto, Italy. More treasured than the financial prizes were two extended periods of scholarship study with Carlo Bergonzi, who became with Maestros Olla and Gregg, the third and final pillar of support upon which Ikaia-Purdy has built his career. To this day, the training in style and musicianship he received as a student of this legendary Verdian tenor inform his career decisions, singing style and vocal method:                                                                                           

"Bergonzi taught by example. These days his recordings are like voice lessons and coachings for me, which I can take with me wherever I go.  The style and charm are all there. When I left him, he told me - ‘Listen to my recordings - its all there'. It is. Young singers arrogant enough not to just shut up and listen to the recordings of masters like Bergonzi - or Caruso, Domingo, Tucker, Pertile, Gigli and those guys - are crazy to be cutting themselves off from such an amazing resource. And how could a tenor be so stupid as to approach a French role without studying Thill, Vezzani, Vanzo and Simoneau. Where better to learn the style - You talk about a brain-trust!"
 

... Repertoire & survival

Ikaia-Purdy is devoted, even dogmatic in his adherence to the master's advice or cautions respecting roles and repertoire For example, Bergonzi insisted that as Ikaia-Purdy added more dramatic roles to his repertoire that he must do so only if during the same periods he could schedule performances of more lyrical roles such as Nemorino, Edgardo or the Duke of Mantua; interspersing such more lyrical roles would keep his voice lithe, youthful and true. So, contrary to "modern casting wisdom," and true to Bergonzi's wisdom, Ikaia-Purdy has managed to maintain just such a balanced performance schedule. And whenever this Bergonzi-inspired mix of repertoire has not been possible to maintain, however tempting the offer, Ikaia-Purdy has refused to take on heavier repertoire.

"After CARLO, Wiesbaden wanted FORZA. They even announced I would do it in the press. I love FORZA. Alvaro's aria - which is quite lyric -brought me a lot of success in competitions; but the last act duet was still way too dramatic for me. (Only a foolish singer takes on a role just because he can sing the arias!) Anyway, there was no way I was taking FORZA on until I had done a lot more RIGOLETTO- s and BALLO-s. Lucky for me they didn't fire me. Instead they changed the opera to RIGOLETTO. Then, in Vienna I was asked to add either TELL or ERNANI. Both are extremely difficult and very different roles. I went with TELL, which is much higher, though friends thought I


was crazy. It turned out quite nice I think. In any event, it was the healthy and right choice for me at the time. I was even offered ERNANI for my Carnegie Hall debut. I was dying to get back to the States, and enjoyed working with Eve (Queler); but I told the producers "no;" they were shocked- they said so! but fortunately they came back within a few seasons offering JERUSALEM. Amen! Today, I feel that ERNANI might finally be right for me...

 You wouldn't believe how many times I have been offered OTELLO! I am not kidding - and I haven't even sung AIDA complete yet. Del Monaco I am not! (Can you believe the size of that voice?! Jesus-Mary-and-Joseph! That's an Otello. ) You really have to fight these days to maintain any sense in building a career. Of course I understand all my lyric colleagues running to the dramatic roles. 'Loud' pays more - but it costs the singers so much more. To sing lyrically is more difficult. People may think I am crazy, but I only now feel like I could sing and enjoy COSÌ. ... Yea, I know, these days it goes to tenori bianchi, but it wasn't so long ago that Lima, Araiza and even Tucker did it. Cavaradossi - even Calaf- is a cakewalk in comparison. Now at last I'd like to take Ferrando out for a ride...."

To Ikaia-Purdy's way of thinking: "It boils down to taking the long view." With Bergonzi and tenors such as Tucker and Domingo as his models, Ikaia-Purdy manages his repertoire choices with an eye to a career measured in decades, not years. Too many times he has seen the proof of Bergonzi's caution, as colleagues have allowed themselves to overbook their calendars and take on repertoire far too heavy for their means - lured by the short term goals of fast-cash and notoriety. "Yea, such successes are reached quickly, but the singers just as quickly burn themselves out." For his part, these past seasons Ikaia-Purdy has managed - with notable success - to mix, for example, TROVATORE with RIGOLETTO, WERTHER with BOCCANEGRA, and VESPRI with ELISIR - even though these pairing run contra to current repertoire trends. "But hey," says the tenor: "just like badly managed careers, trends come and go." "And frankly, between us: I'd rather be told I have too much voice for a role than too little; but maybe that's just me," he laughs- something he does a lot of. The wisdom of his dogmatic adherence to Bergonzi's admonition can be read in the critical praise and public acclaim garnered by the tenor's most recent stage work.

 

... A "house tenor" happy at home

The tenor is often asked why he chose, in the face of tempting offers from around the world, to remain for so many years a member of Vienna's house ensemble.

"First off - let's not forget the ‘house' I was supposedly tenor for! ..." He laughs again... "But seriously, all things considered, I feel I've been very blessed in Vienna. Sure disappointments came along - roles I missed out on, or my being obligated to be there when I might have accepted a recording or MET offer. Heaven knows it happened. But the upside - the positives - way outweighed the few negatives.


And one more thing: My boss, Hr. Holender allowed me to build my repertoire according to Bergonzi's rules. I don't know if many houses would have let me sing all five acts of Verdi's French CARLOS in the same season as I was doing Nemorino! But no matter what the conservatories are telling their kids:  To stay healthy, singers need to do both kinds of roles. And Hr. Holender, who was a singer himself, clearly gets it."

"Plus - just think. I‘ve sung with - and been able to learn from - the world's greatest singers - all accompanied by the Staatsoper Orchestra - with everyone from Muti to Kleiber in the pit! And sure, if on occasion I have had to cover singers I might not totally 'get,' more often I've covered - and, don't forget alternated performances with - great singers like Domingo, Shicoff, Pavarotti and the late-great Kraus - you talk about a singer with the long view!."

"True enough: singing for the Vienna public is no walk in the park. But it's a constant - and I mean constant- encouragement to keep improving my performance standards. In Vienna the fans of some singers (including singers who are friends of mine!) are not always keen on hearing anyone but their favorites. So, trust me: the pressure is on when I go on for a colleague. And that pressure motivates me to always do my best work."

"The other great thing about doing the same productions, often with the same colleagues, over and over through the years, is how much richer and deeper the cooperation becomes. For example I may have sung JÉRUSALEM with my great colleague Eliane Coelho at least 20 times - could have been more. We did the Italian original - LOMBARDI - as well together in Athens. Anyway, I always looked forward to the great duet we sing after my aria. It just kept getting better, more fun and more finely tuned. And of course, the fact that Eliane and I have sung so many other shows together - TOSCAs, BUTTERFLYs, BOHEMEs, MEFISTOFELEs, DON CARLOs, STIFFELIOs, MACBETHs, NABUCCOs- not only in Vienna -



contributes to our work together. And remember - for most of my time in Vienna she was the "house soprano.  - Who wouldn't be proud to be called "house tenor" with a "house soprano" like that?!" 

"Now I am also doing about 20 shows a year in Karlsruhe. I've lucked out again: My regular stage partner is a fantastic Polish soprano - Barbara Dobrzanska- hers is a name I am sure everyone will soon know. There are many great colleagues there- too many to name. But I really have been blessed - And think: I started out in Wiesbaden with Sue Patchell - still one of the all time greats! And such a great person! - and, then in Vienna opposite Eliane Coelho! Thrice blessed! Singing with sopranos like these three is why I love being a singer.

... Heck, I got invited to Stuttgart for ATTILA with Martile Rowland. Wow. The audience went nuts! We later did a lot together. Absolutely great- and so much fun on stage! ... And then, when I debuted at the MET, Ruth Ann Swenson was there singing all three of Hoffmann's loves. Wow! What an inspiration to do my absolute best...

And then, just last night I did a TURANDOT with Giovanna Casolla- what a voice! You can't phone it in with a voice like that on stage."

He is laughing again. And more names of "wonderful singers.." "great colleagues" and, "such nice persons" are being raised in quick succession.

Well, it was perhaps foolish to ever assume that this particular tenor would spend much time focusing on his own talents, voice and accomplishments.  And in that regard as well, he is one rare tenor!

 






Photos in Article: 1) Portrait;   2) with Eliza Chung, grandmother of Ikaia-Purdy;   3) with Peter Gregg; 4) with Steven Olla;   5) with Anna Marie Fulton;   6) Carlo Bergonzi;  7) KIP as Cavaradossi, Toulouse; 8) with KS Eliane Coelho: I LOMABARDI (Athens Megaron);9) with Barbara Dobrzanska - Karlsruhe Opernball;  10) with Sue Patchell: DON CARLO (Wiesbaden May Festival.)