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The Absolute, Latest Word from the Press*: Verdi: I MASNADIERI : Badishes Staatstheater
28 April 2010
Ina Schlingensiepen, KIP, A. Kolarczyk, U. Schneider; C. Getschold, cond.
DER OPERNFREUND May 2010
The Karlsruhe performance brought honor to the (Karlsruhe) company. As regards both drama and music, the performance standard was of a uniformly high-caliber … ... Keith Ikaia-Purdy, in the roles of Carlo and Rolla, possesses beautiful tenor material, which he employs with clarity and strength. He is as successful in the dramatic outbursts as he is in the lyrical outpourings. …. Thus, every one of the leading characters was superbly cast .
30 January 2010- Premiere
Barbara Dobzanska, KIP, Stoll, Gorny, Schneider; Hochstenbach, Cond.
Opera Today March 2010 "Karlsruhe: Rare Verdi Well Done" ... One thing absolutely dreamy about the performance was the starry cast, a first rate quartet of soloists that could hold its own in any major international house. Indeed, when I remarked to a Viennese colleague that I thought the Staatsoper might be happy with these fine vocalists he retorted: "Are you kidding? They would be jealous!" (... in addition to soprano Amalia/Barbara Dobzanska ....) Another company treasure is tenor Keith Ikaia-Purdy who seems born to sing these Verdi heroes. Although his burnished, ringing tone really shines above the staff, there is a warmly solid presence in the lower reaches as well. That said, the first aria lies a bit ungratefully in the fringes just upward of the middle of the voice, although he negotiated it reliably with his sound technique and professional skill. It was after this opening number that Mr. Ikaia-Purdy really came into his own, and he lavished us with some beautiful phrasing and heartfelt commitment, full of Bergonzian portamento and Verdian temperament. Moreover, he and Ms. Dobrzanska partner each other exceptionally well, and as they rose above the orchestra at full volume, the exquisite outpouring of molten vocalism was overwhelming. ... Karlsruhe has served up a rare treat with its theatrically cogent, musically vivid, immensely satisfying "I Masnadieri."
Frankfurt
Rundschau February 3, 2010 ... Achieving a Verdian performance of the highest standard was particularly due to the achievements of the vocal-performers. ... That Keith Ikaia-Purdy, in the pivotal role of the passionately sorrowful Carlo (Karl), plied his substantial, utterly solid and attentively focused tenor with due restraint, elevated the entire performance to one of vivid and consistent attention to detail and nuance.
Der Neue Merker 30 January 2010
(As Carlo:) Keith Ikaia-Purdy - who also sings the few lines of Rolla, the friend who has rescued Carlo from the gallows in Prague - portrays the emphatic and huge emotional swings which characterize the role with a securely functioning tenor; he is sensitively mindful of dynamic variation, encompasses the essential Verdian-arch in phrasing; and vaults with power and large-scaled security on high, reaching exceptional top tones ... Karlsruhe can be happy to be able to account this tenor among its fixed assets.
Concert: Keith Ikaia-Purdy sings his favorite melodies - Wiesbaden Kurhaus, 25 November 2009 Erika le Roux, Piano; Guest artists: Romana Vaccaro, Soprano; Juri Batukov, Bariton
(arias, duets referenced in following review: Verdi - I MASNADIERI - "O mio castel paterno;" Giordano - ANDREA CHENIER - "Come un bel dì di maggio; " Puccini- MADAMA BUTTERFLY - "Dovunque al mondo ... Amore o grillo;" Drinking Song Medley: Mahler - LIED v.d. ERDE - "Der Trunkene im Frühling," Mascagni - CAVALLERIA - "Viva il vino spumegiante," Schönberg - LES MISERABLES - "Drink with me," Verdi - TRAVIATA - "Libbiamo!")
Wiesbadener Tagblatt
As always the voice of the charming and ever- youthful Ikaia-Purdy impresses with its freshness and covered metallic timbre, affording him an explosive luminosity in the highest range, and for this hall at least, a nearly too generous range of volume.
He began the evening with a song medley; then again revealed the full scope of his spinto tenor in arias of Giuseppe Verdi and Umberto Giordano, the dramatic nature of which best feature his singing gift; though he knows how to lend a gentler tone as required by arias and duets of Giacomo Puccini.
A highpoint of the quite well-attended concert was the trio from the first act of Verdi's "Trovatore", which received a passionate and hot-blooded performance from the three protagonists. ... Thrilling expression was also lent by Ikaia-Purdy and Juri Batukov to the first act duet from Puccini's "Madama Butterfly."
The concert came to its conclusion to storms of audience approval with a medley of drinking songs during which each of the three singers again performed impressively, as well as Ikaia-Purdy's sensitive homage to the power of music in Joe Raposo's song "You will be my music".
Puccini: TURANDOT - Trier Summer Festival Premiere 20 June 2009
... in the role of Calaf, Keith Ikaia-Purdy's acting and fascinating voice fully convey that character's unflagging and single-minded quest for power. ...
To emphasize the art of expression of each singer would only mean
a repetition of laudatory words. The euphoric applause rewarded to
each aria and with which the artists were finally met offer
sufficient evidence of just how impressive the performance was. ...
Luxembourg Tageblatt: Every detail of Gerhard Weber's production works ... above all else Vera Wenkert as Turandot, Keith Ikaia-Purdy as the unknown prince (Calaf) and Adreana Karschewski as the slave girl Liu. ... It was a thrilling spectacle ... which was repeatedly celebrated by the audience with applause for each scene and, at the conclusion, acknowledged with cries of Bravo and standing ovations.
Hundertausend.de .... magnificent ensemble: Vera Wenkert, as Turandot with her cool, intelligently calculated and temperament-full soprano and the well balanced tenor of Keith Ikaia-Purdy as Calaf mastering every vocal challenge. ... At the end there were roaring cheers for all of the cast members
Performances with orchestra. Repertoire including:
CAVALLERIA RUSTICANA: "Tu qui Santuzza;" AIDA: "O terra addio"; LE CID: "O Souverain;" OTELL: "Giá nella notte; FORZA del DESTINO: "O tu che in seno" and "Solenne in questo ora;" TOSCA: "Recondita" and "E lucevan le stelle;" TURANDOT: "Nessun dorma;" WEST SIDE STORY: "Maria;" LAND DES LÄCHELNS: "Dein ist mein ganzes Herz"
Limburg Catherdral Square: Nassauische Neue Presse 03.08.09
The evening came closest to it object
of presenting an homage to star tenor, Mario Lanza, deceased 50 years
ago, with the following appearances: ... and the very commanding ( lit: sovereign) Keith Ikaia-Purdy of
the Vienna State Opera, whose "E lucevan le stelle" from
Puccini's TOSCA was breathtaking. And, at the very latest: with the
final duet "O terra addio" sung with Roman Vaccaro from
Verdi's AIDA, one felt the soft breeze of Verona's Arena fall upon
the Limburg Cathedral Square.
Wiesbaden Lutherkirche: Wiesbadener Tagblatt 01.09.09 Sofia Symphony Orchestra, Thomas J. Frank, cond.
Opera Classica presented .... Keith Ikaia-Purdy, whose voice, in arias from Puccini, Verdi and Massenet, with its bright, metallic, radiant top tones easily carried above the oft too voluminous orchestra. (At the end:) .... enthusiastic, long-lasting roars of approval ...
Laubach: Giessener Allgemeine 10.08
(In Don Jose's "La fleur" and LE CID's "O Souverain" ) Keith Ikaia-Purdy thrilled with his passionate high-lying dramatic tenor voice. In the course of the evening he demonstrated his capability of lyric expression as well.
Fichtelberg - Frankenpost 24.08 Genuine highlights in the concert included Juri Batukov's "Votre toast" from CARMEN and Hawaiian tenor Keith Ikaia-Purdy's singing of "Maria" from WEST SIDE STORY. But the absolute highpoint of the concert was reached when these two performed together, in the duet "Solenne in quest'ora" from Verdi's opera FORZA DEL DESTINO.
Schlossplatz Hasselbach - Hasselbach Online - 31.08 The performers were met with storms of enthusiasm .... (The duets from CAVALLERIA performed by KIP with Romana Vaccaro ) went, as they should, under the skin - as did Ikaia-Purdy's sensitively performed "E lucevan le stelle" from Puccini's TOSCA, which stirred many listeners to tears.
DON CARLO - Norwegian National Opera, Oslo 2 October 2008 A. Harteros, KIP, P. Mattei, R. Pape; M. Guidarini Opera Today 2 Nov. 2008 James Sohre:
... The title role has been a calling card for tenor Keith Ikaia-Purdy all over the continent (several continents, in fact) and it is easy to see why. This wonderful artist serves up a richly detailed and nuanced performance, as capable of full-throated outpourings of pointed sound, as he is at scaling back to well-crafted mezzo-piano and sotto voce phrases laden with subtext. His subtlety impresses as much as does his capacity for clarion top notes. Of course, our hero does get pushed aside in the final act as soloist after soloist regale us with some of the top four arias/pieces Verdi ever produced. (After he reappears in the prison scene with Rodrigo, I always sort of summon up a paraphrased echo of Anna Russell: “Remember Don Carlo?”). However, Mr. Ikaia-Purdy’s presence and committed acting immediately recaptured our attention, and Posa’s death was the most affecting I have ever experienced, not just because Mr. Mattei sang it superlatively, but because our Don Carlo cradled the baritone in such inexpressible grief.
Giordano: ANDREA CHÈNIER - Baden State Theater 8 November 2008 Christine Niessen; KIP, Walter Donati; J. Hochstenbach
Orpheus 1 January 2009 The quality of the event was made possible due to the extraordinary fortune that this theater was able to cast the three leading roles twice, and at the highest level. .... Keith Ikaia-Purdy must number Chènier among his finest portrayals. ... The storms of jubilation in the auditorium following the performance were the result of the performance, in general, and more specifically the contributions of the respective trio of protagonists ( : Christine Niessen, KIP, Walter Donati.)
Pamina Klassik November 2008 < Opposite Christine Niessen as Madeleine >, Keith Ikaia-Purdy is admirably suited to the enraptured and exuberant Andrea Chènier: his overtone rich voice, well-balanced throughout each register : a believable performance of the poet as he strives to reach his highest ideals.
Die Rheinpfalz Keith Ikaia-Purdy performed the role of the French poet, revolutionary and visionary Andrea Chènier (an historic figure) in superior style, with a concentrated, metalically streaming tenor voice and secure top register. His powerful instrument is capable of unlimited dramatic accents and theatrical, emotion-filled outburts, and such grandly vigorous accents are always employed to telling effect.
Badisches Neueste Nachrichten Keith Ikaia-Purdy may account Chenier among his best roles. His voice was secure in every register and he is also a engaging actor.
Massenet: WERTHER - Arthaus Musik: DVD and Blue Ray Disc: Badisches Staatstheater, Karlsruhe Hablowetz, Schlinensiepen, KIP, Kolarczyk, Hannula; Calberg
Opera Plus: Werther DVD It would be a mistake for an opera-lover to pass over this performance because it lacks a "big name" cast and derives from a German opera house. ... Keith Ikaia-Purdy as Werther( who we also saw in Prague as a very convincing performer in the Prague premiere of Verdi's Sicilian Vespers at the State Opera) is truly great in the vital role. ... (The DVD stands up to international comparisons ... )
NEW YEARS GALA, Giessen 1 January 2009 Virginia Todisco, KIP; Carlos Spierer Giessener Zeitung (3 January 2009) "Under the Banner of Verdi and Puccini" ... The two soloists presented themselves in top form: the soprano Virginia Todisco, already well-known in Giessen, and the acclaimed tenor Keith Ikaia-Purdy, again and again moved the public to shouts of "Bravo!". ....
For vocal highlights, the
soloists offered arias and duets from such well-known Verdi works as
OTELLO and LUISA MILLER. ... From Puccini arias and duets from MANON
LESCAUT, LA BOHÈME, TURANDOT and TOSCA were to be heard. When
Puccini's tenor aria "Nessun dorma" was introduced by the
moderator ... he emphasized: "During the past year this aria has
been used as a mockery in the German advertising campaign introducing
British singer Paul Pott. This aria belongs only in the Opera."
The interpretation of Ikaia-Purdy convinced the audience that "the
original sounds right in its correct home ... far more beautiful than
as a cut from a casting show." .... (Following the encore,
"Libbiamo" from TRAVIATA:) Applause and flower bouquets
greeted the close of a first rate evening of opera.
Mahler: DAS LIED von der ERDE Dobbiaco, Italy June 2008
Bundes Jugendorchester, Matthias Foremny
MusicWeb
I was in Toblach in August for the centenary performance at the Mahler Festival and there was a spirited account by Germany’s Bundesjugendorchester conducted by Matthias Foremny with an outstanding young German mezzo, Claudia Mahnke, with a remarkable range, and valiant tenor Keith Ikaia-Purdy.
Puccini Gala: Frankfurter Sinfoniker; Noorman Widjaja, cond. Kloster Eberbach - 25 May 2008 Sue Patchell, Romana Vaccaro, KIP: arias & duets: MANON LESAUT/ des Grieux, BUTTERFLY/ Pinkerton, TURANDOT/ Calaf
Fortunately they succeeded in booking the marvelous Hawaiian singer, who has long made the Rhein Valley his home. This extraordinary artist, well known from appearances on the world’s leading opera stages, … , understands like no other just how to cast an audience under his spell.
Puccini: MANON LESCAUT - Badisches Staatstheater, Karlsuhe - 29 March 2008
Schwarzwald Bote
Puccini: TOSCA - Badisches Staatstheater Karlsruhe - February 2008
Das Opernglas: (11.07) On the night of the premiere the singing standard was at a considerably high level: Above all else, one must mention Keith Ikaia-Purdy, whose Manrico was of the finest class. An intense actor, his perfect vocalism was also able to elicit the audience's enthusiasm. His voice is of considerable size, is solidly anchored, is of dark timbre, and fascinates through the absolute security and radiant brilliance of its highest tones. Mannheimer Morgenpost "Traumatized and Irreparably Confused: (Producer) provokes with his TROVATORE at the Pfalztheater." …Keith Ikaia-Purdy sang with a radiantly powerful voice which allowed one to overlook the production's limited character development. Quite appropriately, at the end there were long lasting ovations for a musically excellent TROVATORE. Die Rheinpfalz: 1. "Season Opening ... TROVATORE undergoes a radical updating."…Fortunately, the Season Opener was nevertheless a success, thanks to the wonderful ensemble of soloists: beginning with … and on through Keith Ikaia-Purdy, who flaunted his blazing top tones as Manrico. 2. "Reactions from "Boo" to "Bravo!" … Wonderful voices and an outrageously good orchestra. … The singers: Super! The orchestra: wonderful. … The music was great, and as for the singers, everything was ideal … The orchestra and singers were supremely good... Opernnetz … Magnificent performances by the orchestra, chorus and above all the soloists … who at the end received more-than-well-earned standing ovations. … The evening could have been a major event solely on the basis of the soloists: A marvelous baritone … (and) as Manrico, Keith Ikaia-Purdy, whose tenor was most-impressive in the highest register. …
Sir Colin Davis, Staatskapelle Dresden, KIP Klassic.com (7-27-2007) As the soloist in the Sanctus, Keith Ikaia-Purdy's near-heroic tenor is persuasive, his voice full of color and shining warmth.
* See also below current reviews from DON CARLOS (Basel - December 2006), WERTHER (Karlsruhe - April 2007) BUTTERFLY (Wetzlar and Dreieichenhain Festivals - July 2007) and HOFFMANN (Miskolc Festival - June 2007)
I. Italian repertoire Boito: MEFISTOFELE - Ravenna Festival - July 2005 Florence May Festival Orch. & Chor., Riccardo Muti Die Presse: ... Riccardo Muti enlivened the virtuoso ensemble of the Florence May Festival (orchestra and chorus) as well as the soloists to fully realized performances of their roles. .... Keith Ikaia-Purdy securely mastered the difficult tenor role. Ravenna Press: ... Mefistofele was presented in the city of the Ravenna in a sports arena; the full-house rained applause down upon the incandescent artistic forces of the Florence May Festival and the uniformly high-level contributions of the impressive Mefistofele of I. d'Archangelo, the ardent Faust of Hawaiian tenor, K I-P, the dulcet toned Margherita of A. Voulgaridou, and, above all, Muti. Donizetti: ELISIR d'AMORE - Badisches Staatstheater, May 2005 Badische Neueste Nachrichten: Thanks most particularly to the two superior protagonists, Karlsruhe's "Elisir" attained the ultimate measure of vocalism. ... Keith Ikaia-Purdy (as Nemorino) took full advantage of the many opportunities to display his exemplary tenor voice in its best light; so that the premiere audience fell completely under his spell. Pforzheimer Zeitung: The singers were met with cheers of approval... Keith Ikaia Purdy sparkled as Nemorino - employing his magnificent tenor with knowing attention to variety and detail. Strength, melting lyricism and expressive nuance combined to make his a convincing performance. Badisches Tagblatt: Keith Ikaia-Purdy brings to Nemorino the same aspect which epitomizes Parsifal: the soul of a true innocent, a man incapable of guile or calculation. Skillfully he portrays the shy admirer's obstinate devotion, while giving full expression to the melancholy conveyed in his two great arias Donizetti: ELISIR d'AMORE - Opera Hamilton, Canada - 29 October 2001 The Record Hawaiian-American tenor Keith Ikaia-Purdy was the lovesick Nemorino, and he matched Bayrakdarian in both sound and quality. Their duets were exceptional ... high B-flats presented neither of them with a problem, and Ikaia-Purdy's soaring tenor handled the "big" aria Una furtiva with beauty and power, and delighted in the Lallarallara. Donizetti: LUCIA di LAMMERMOOR - Badisches Staatstheater March 1998 Das Opernglas: In contrast to his predecessors in the role- ( Berti and Sempere,) Keith Ikaia-Purdy presented a grandiose Edgardo. ... it was vocally an ideal casting; and he strove at the same time to lend the role dramatic profile. Mascagni: CAVALLERIA RUSTICANA - Glimmerglass Festival N.Y- July 2002 The New Yorker: Cavalleria was considerably stronger, thanks to three exciting young voices with the potential for major careers:... and the Turiddu by Keith Ikaia-Purdy, a beautifully schooled Hawaiian tenor whose only fault was a purity of line that may have been a shade too elegant for the brute he was playing. When the three of them were going full throttle, all questions about the staging melted away. New York Observer: ... the most persuasive moment arrives when Eugenie Grunewald and Keith Ikaia-Purdy are allowed to sing the heated Santuzza-Turiddu duet more or less straight, unencumbered by fancy gimmicks. Andante Magazine: As Santuzza and Turiddu, Eugenie Grunewald and Keith Ikaia-Purdy brought tremendous vocal and theatrical presence to the roles. Glimmerglass productions typically attract fine singers, but these were among the best of the 2002 season. Puccini: LA BOHEME - Vienna State Opera The New Merker: Excellent performances by Keith Ikaia-Purdy as Rodolfo and Christina Gallardo-Domas as Mimi made this evening a very pleasant experience. Ikaia-Purdy has really developed into a thoroughly excellent singer, his voice having gained in power and beauty, his phrasing more elegant. His grand aria from the first act was very impressively and securely mastered. Puccini: LA BOHEME - Bavarian State Opera - 21 December 2002 Bavarian State Opera Forum: Perfect Voices, perfect music and perfect production: Yesterday's performance (of La Boheme with Elena Kallesedi and Keith Ikaia-Purdy) was fantastic, pefect, and will remain forever in my memory. This was the performance of my life! Puccini: LA BOHEME - German Opera, Berlin December 2004 El Diario / La Prensa: (Alongside the triumphant Ana Maria Martinez as Mimi) ... Rodolfo was likewise performed brilliantly by the American tenor (of Hawaiian origin,) Keith Ikaia-Purdy. ... At the end of the night ovations for the performers lasted more than 15 minutes. Puccini: MADAME BUTTFLY - Wetzlar Festival (Opera Classica) - July 2007 E. Lappalainen, KIP, M. Lipp Gelsenhauser Tageblatt: (Butterfly's) lover Pinkerton was portrayed by the American tenor Keith Ikaia-Purdy. From the beginning, his gentle voice made a sensitive, sympathetic figure of the self-righteous character, so that one viewed his ultimate bigamy more as the result of his soft-hearted - as opposed to unscrupulous - character. … That, in this Festival Season's final performance, the entire ensemble managed to make themselves easily heard without aid of electronic amplification, made the evening quite perfect. It was an operatic evening for the heart, and - before departing the open-air theater which had turned severely cool - the public expressed its gratitude with long lasting applause. With "Madame Butterfly" the Festival set the year's highpoint just as the season closed. Puccini: MADAME BUTTERFLY - Dreieichenhain Burg Festival (Opera Classica) July 2007 E. Lappalainen, KIP, M. Lippi Offenbach Post:
Puccini: TURANDOT - Honolulu Symphony - 21 May 2002 M.J. Johnson, sop., S. Wang, cond. Honolulu Star Bulletin: Ikaia-Purdy, as the romantic lead Calaf, registered his own triumph with a velvety bel canto tenor that lent the role exceptional warmth. Powerful and tonally rock-solid, his voice seemed to anchor the music swirling around him. Both "Nessun dorma" and "Non piangere Liu" were marvelous. .. he is a joy to hear. Verdi: BALLO IN MASCHERA - Ludwigsburg Schloss Festival 15 September 2002. w/ M. Crider, E.Fiorillo, L.Goennenwein, cond. Stuttgarter Nachrichten: The role of the Boston governor Riccardo is, purely from the aspect of singing, one of the longest and technically one of the trickiest tenor parts of the Italian composer. The Hawaiian Keith Ikaia-Purdy, justifiably celebrated by his cheering fans, demonstrated mastery of both the light touch needed for the Canzone,, Di tu se fedele" and - in yet stronger measure than ever before - over the elastic attack and concentrated energy of a dramatic tenor. Schwaebische Zeitung: In this performance, Keith Ikaia-Purdy (Riccardo) left absolutely no wish unfulfilled. His steely tenor, much more elastic and in an even more equalized condition than in earlier hearings, was a pure feast for the ears. Marbacher Zeitung: For the leading roles, first-class soloists had made themselves available: most notable among them, the tenor Keith Ikaia-Purdy of Hawaii, who performed Riccardo. In the past years he has been a regular guest in Ludwigsburg, proving himself a perfect master of Italian Belcanto as well as the French lyric-heroic repertory. Bietigheimer Zeitung: As count Riccardo, Keith Ikaia-Purdy, of Hawaii - for years Maestro Goennenwein's Verdi star tenor in Ludwigsburg,- dominated the stage, from his first entrance clear through to his assasination - almost the entire performance. It is only right that he sings at the Vienna State Opera and throughout the world. Ludwigsburger Kreis-Zeitung & Esslinger Zeitung: ... it soon became clear this was not yet another concert opera of the usual, old sort. With the entrance of Keith Ikaia-Purdy as Count Riccardo, the stage came dramatically to life. Opening his arms wide to his audience of royal subjects, he melodiously declared his Credo of Life deep into the hall. . . Michelle Crider as Amelia... breaks under the pressure, as measure by measure, Ikaia-Purdy powerfully forces her to succumb to the aura of his passion. The love duet sung by them was one of the great highlights of the performance: Belcanto and the utmost in emotionally incandescent vocal acting.
Verdi: DON CARLOS - 5 Act French Version (revised),
The quality of the Basel ensemble was altogether more consistent ...
The apparent equilibrium in the comparative virtues (of the Basel and Freiburg casts) failed when it came to the father-son conflict; here, the vocal scales more-than-obviously tipped in favor of the Basel personnel: Stefan Kocan's bass left its emphatic stamp on Phillipp, as did the ever blossoming tenor of Keith Ikaia-Purdy as Carlos.
Stuttgarter Zeitung: (Compared to their Freiburg colleague) among the radiant vocal assets of the production 70 Kilometers southwards along the Rhine - were Marian Pop (as Posa), together with the crystalline pure Mardi Byers as Elisabeth and the round-toned, blossoming tenor of Keith Ikaia-Purdy's Carlos ...
Sudkurier: While the vocal demands of Carlo's high-lying tessitura are too great a challenge for Freiburg's otherwise radiant tenor, in Basel it is precisely the male soloists who are most convincing: Keith Ikaia-Purdy (Carlo), Stefan Kocan (Philipp) and Marian Pop (Posa.)
When not sitting in his cage, Keith Ikaia-Purdy is a Carlos of never diminishing creative resources. Baseler Zeitung: It must have been infernally difficult to cast the leading roles, since the French version is far less established in the international opera world than the Italian one. In the program booklet two names were listed for Carlos; in the event it was sung by a third- Keith Ikaia-Purdy, a solidly built tenor, of youthful demeanor, with tremendous power in his lungs and nearly faultless intonation - whose progressive deterioration from the well-behaved backpacking tourist into the terrorist was awesomely portrayed. Aargauer Zeitung: The acting of the soloists was emotionally captivating, and most of them sang well. Keith Ikaia-Purdy's development has been enormous! Tages-Anzeiger: (Despite the grotesque spectacle) ... Music was also present. Foremost among the altogether satisfying ensemble, Mardi Byers (Elisabeth), Keith Ikaia-Purdy (Don Carlo), Marian Pop (Rodrigue) and Stefan Kocan (Philipp II) merit particular praise. Hispanopera: Two Entries from the Internet: 26 November: We enjoyed the performance for its stunning impact and (with two exceptions) fine singing. ... The best was Don Carlo: Keith Ikaia-Purdy, with a beautiful and powerful voice from start to finish - and it certainly is a macabre ending, when Carlos sacrifices himself in a suicide bombing.Ikaia-Purdy was the best. For us he was a new discovery. Because it was the premiere, there was a kind of party taking place in the foyer of the theater. Everyone was there, including Bieito. We found out - not from Bieito - that of the two tenors listed in the program, one had still not learned the role, and the other had left after a disagreement with Bieito. So Ikaia-Purdy had been incorporated into the production at the last minute, and thanks to him the premiere was not suspended. Double merit then that with so little rehearsal time he was perfectly integrated into every moment of every scene. .... He was fantastic! Verdi: DON CARLO - Vienna State Opera - 8 April 2002 Der Neue Merker: The unfortunate prince was sung and acted by Keith Ikaia-Purdy, with secure tenor timbre, faultless phrasing and great intensity. The role fits him superbly. Verdi: Don Carlo - Vienna State Opera 10 February 2001 OPERA NOTES: Once again the Hawaiian's acting was fully convincing, and he accomplished the singing of the difficult tenor role astoundingly well - including the critical top tones. His success in the duet with Elisabetta was enchanting, and the duet with Posa was also very pleasing. Verdi: Don Carlo - Vienna State Opera Opera Japonica: One of my chief reasons for seeing this production was to hear the young tenor Keith Ikaia-Purdy. He has recently been hailed by opera aficionados ...It is a very fine instrument of lyric-spinto force. This force is not contained in baritonal weight or color but rather the ability of the voice to cut through the orchestra. It is a svelte and compact voice that is bright and attractive, but the lower range is a bit weak, which would be a problem were he to take on the more heroic tenor roles. However, the top is powerful and impressive. He is a fine musical and dramatic artist, and one that I hope to see much more of in the future Verdi: Don Carlo - Salzburg _ October 1997 Der Grenzbote: Keith Ikaia-Purdy possesses a wonderful lithe and lyric tenor voice. As Don Carlos he was able to reach the dramatic heights and convey the impulsive declarations of love in the duet with Elisabeth magnificently. Verdi: JERUSALEM - Frankfurt Opera, P. Carignani - April 2003 Frankfurter Allgemeine Zeitung: The fact that the male soloists delivered their French text at a minimally adequate level of understandability would not have been so apparent, had Keith Ikaia-Purdy not set such a high standard. The fact that one was able to understand every one of the tenor's words, and indeed, that even in the ensembles with the full orchestral accompaniment he was nevertheless able to communicate the slightest of emotional nuances is fantastic. Verdi: JERUSALEM - Dresden Festival, Semper Oper May 2001 Dresdner Neueste Nachrichten: A festival of voices: The ensemble, of international niveau, was dominated by the three protagonists. ... The Hawaiian tenor Keith Ikaia-Purdy - singing like the soprano (Alexia Cousin) with no holds barred - possesses a gorgeous lyric tenor with velvet-flexibility which remains at the same time heroic in impact and thrilling in its enormous radiance. Sächsische Zeitung: Most convincing of all: the French woman Aleixia Cousin as Helene - thrilling! - and the Hawaiian Keith Ikaia-Purdy as her persecuted lover: What a tenor! .. Verdi: JERUSALEM - OONY Carnegie Hall, Eve Queler, cond. - February 1998 New York Magazine: Hawaiian tenor Keith Ikaia-Purdy, a member of the Vienna State Opera and well-established in Europe, was a new-comer to New York as Gaston, Viscount of Bern, the romantic lead. The two "high Cs" in his big second act aria, reminiscent of Pavarotti in his prime, brought down the house. Verdi: I LOMBARDI - Gala in Dortmund - June 2001 Westfälishe Rundshau: Musikverein offers thrilling performance of I Lombardi: (The soprano) gave "soul" to Giselda .. most notably in the third act duet, where together with Keith Ikaia-Purdy, her Oronte, beautiful tone and intimate, heartfelt piano culture reigned... Ikaia-Purdy portrayed Oronte with thrilling power and melting tone. Westfälishe Allgemeine Zeitung: A warm, nearly baritone-colored timbre, perfect vocal control, the registers perfectly blended, with top tones radiantly ringing and effortless. Verdi: LUISA MILLER - Opera du Wallonie, Liege 21 November 2005 PROXI-Liege: (As Rodolfo) Keith Ikaia-Purdy demonstrates not only his vocal maturity but also an undisputable power to entice. Il Grand Inquisitor: The tenor Keith Ikaia-Purdy sang Rodolfo. He has the best voice of the cast. His voice sounds quite homogeneous without the slightest decrease in power in the highest or lowest reaches of the voice, only the passagio evinces a bit of manipulation. In general, he sings with exemplary legato Verdi: LUISA MILLER - Badisches Staatstheater - December 2003 Das Opernglas: All things considered, the evening was saved by the Hawaiian tenor ... the musical result was exquisite. Ikaia-Purdy succeeded in creating a stirring interpretation of Rodolfo with an effortless legato crowned by imposing top tones, for which he was celebrated at the performance's end. Badische Neueste Nachrichten: It must be freely admitted that the outstanding tenor, Keith Ikaia-Purdy, was the guiding vocal star of this performance. ...the tenor crafted a purely vocal experience, highly refined throughout the vocal range, with bewitching vocal colorations and invariably brilliant at even the most extreme dynamic levels. Die Rheinpfalz: That the evening offered brilliant musical performances had above all else a single source: Keith Ikaia-Purdy. He was brilliant not only in the highest tones of the role - to which he brought a luminous heroic power; but he was also able to lend his voice a thoroughly lyric coloration. He conveyed ... all of the facets of Rodolfo's character ...The audience's delight sprang above all else from Rodolfo's aria. Verdi: SIMON BOCCANEGRA - Vienna State Opera - 5 May 2005 AbeilleMusicForum: Simon Boccanegra: Thomas Hampson; Amelia Grimaldi: Krassimira Stoyanova; Jacopo Fiesco: Ferruccio Furlanetto; Gabriele Adorno: Keith Ikaia-Purdy; ... Paolo Albiani: Boaz Daniel ... All the roles were sumptuously sung, the orchestra superlative, the direction of Luisi less dry than is usual for him- in brief a beautiful evening at the opera! Verdi: SIMON BOCCANEGRA - Vienna State Opera - 28 April 2005 Der Neue Merker: ... the singing of the protagonists was of a uniformly high standard. ... To each of these voices was added the lightly baritone-colored tenor of Keith Ikaia-Purdy: powerful in the middle-range, while expanding beautifully on high. Verdi: SIMON BOCCANEGRA - Badisches Staatstheater - 7 October 2005 Der Neue Merker: The cast of the Karlsruhe B-premiere was uniformly and remarkably strong: Luis Molz as Fiesco, Edward Gauntt as Paolo, Mika Karres as Pietro, Keith Ikaia-Purdy as Gabriele Adorno... Verdi: Il TROVATORE - Saarlandisches Staatstheater - June 2004 Saarland Radio (SR-2): Ikaia-Purdy sings with such energy as is rarely heard among tenors these days, succeeding with no apparent effort in the dreaded high passages; and, his voice touches (the listener) with its very special timbre, blending a vigorous directness to a tenor's mellifluous tone. Saarbrücker Zeitung: Brilliance, plangency, but also radiant strength: In his voice Keith Ikaia-Purdy brings everything needed for Manrico, the featured and title role of Il TROVATORE. And he masterfully scales the heights. Rheinpfalz Zeitung: One must call particular attention to Keith Ikaia-Purdy, who sang the Manrico with a gleaming voice, absolutely secure in the highest reaches. Verdi: I VESPRI SICILIANI - Athens Megaron - October 2003 Das Opernglas: Altogether the most convincing performance was offered by Keith Ikaia-Purdy as Arrigo. The Hawaiian tenor sang the difficult role with fine legato and adroit piano culture, while possessing all the requisite security-on-high and vocal carrying power. His supple phrasing distinguished him most agreeably from his unacceptable opening night counterpart. Verdi: I VESPRI SICILIANI - Prague State Theater - April 2006 The Prague Post: The vocals are among some of the most taxing Verdi ever wrote, calling for almost impossibly wide ranges, which is one of the reasons Vespers isn't staged very often. But the opening-night leads - baritone Alexandru Agache, tenor Keith Ikaia-Purdy, soprano Maria Haan and bass Tomasz Konieczny - were more than up to the task. Every solo drew enthusiastic applause, as did many of the ensemble pieces. II. French repertoire Bizet: CARMEN - Loreley Festival - 7 July 2003 Die Glocke The male roles were also superbly cast - most notably, Keith Ikaia-Purdy whose performance continually gained in intensity throughout the evening and who granted the role of Jose his dazzling tenor Neue Westfälsische Keith Ikaia-Purdy made a highly convincing Jose with the enormity of his vocal resources and the warmth of his tone. Massenet: WERTHER - Baden State Opera, April 2007 Stuttgarter Zeitung: "Tempestuous, Insistent: Stalker - WERTHER in Karlsuruhe" … The soloists left absolutely no wish unfulfilled - either vocally or dramatically Mannheimer Morgenpost: ... The third act was the overwhelming highlight of the performance. … As Werther in his bitter-sweet aria "Pourquoi me reveiller?" dreams for the last time of good fortune in love, Charlotte's rejection sets into motion the final catastrophe. The scene evolves into Werther's death scene, again upon the snowy, open-grave landscape of the Prelude; the sorrowful confessions of love - deeply moving and beautifully sung by the pair (Ikaia-Purdy and Silvia Hablowetz) are too late. …The extremely warm premiere applause grew measurably, and quite appropriately, at the appearance of Hablowetz, Schlingensiepen (Sophie) and Ikaia-Purdy …. Die Rheinpfalz: ... It was primarily from the musical perspective that the Karlsruhe State Theater's production of Massenet's WERTHER was convincing. … Keith Ikaia-Purdy sang the title role with a sonorous, effortlessly attractive, brightly ringing tenor voice. Internet Theater Review (Eat Drink Michael Woman) Michael Baumgaertner: "WERTHER. DESPAIRING"… Both Silvia Hablowetz as Charlotte and Keith Ikaia-Purdy as Werther gave marvelous performances, and complemented each other wonderfully. Pforzheimer Zeitung: Despite the uninviting vocal tessitura, Keith Ikaia-Purdy adroitly granted his well-managed tenor to Werther's high lying euphoric outbursts. Massenet: WERTHER - Royal Opera Stockholm L'Opera: Keith Ikaia-Purdy was excellent ("bravissimo") and has a splendid voice. Offenbach: LES CONTES d'HOFFMANN - Miskolc Festival, June 2007 As Star Guest of the Hungarian National Opera, Miskolc Fidelio (Online edition) The performer of HOFFMANN, Keith Ikaia-Purdy, is indeed an outstanding singer. Although his rather small stature is not what one might first imagine for a Hoffmann, all of the character's passionate love and madness were there, fully expressed in his voice and acting. Offenbach: CONTES d'HOFFMANN - Metropolitan Opera - 19 February 2000 The New York Times: "OPERA REVIEW; A New Hoffmann: Crazed Storyteller" - The title role in Offenbach's ''Contes d'Hoffmann'' is a formidable choice of repertory for a young tenor making his Metropolitan Opera debut. So it is to the credit of Keith Ikaia-Purdy, a tenor from Hawaii who has sung so far primarily in Europe and been a member of the Vienna State Opera since 1992, that his debut in the role on Tuesday night was so accomplished. ... lovers of this music should be grateful for the lyrical ardor, vocal agility and attractive sound of Mr. Ikaia-Purdy's Hoffmann. If one missed a touch of madness in his portrayal, there were compensations in his youthful energy, arching phrasing and intelligence. Offenbach: CONTES d'HOFFMANN - Grand Theatre Geneva - 26 Dec. 2001 Le Monde (On the second Christmas morning Michael Myers woke without voice. 45 minutes before the curtain Ikaia-Purdy arrived from the Geneva airport and immediately began the performance. Myers mimed and, as necessary, lightly sang the few portions of the Geneva edition unknown to Ikaia-Purdy. ...) Standing aside the stage, Keith Ikaia-Purdy sang his role with ease and musicalité - without the slightest compromise to his vocalism, singing a part that - one must know - he had not performed for months. As was entirely appropriate, his achievement earned him the admiration of the public, who welcomed him with an ovation. Offenbach: CONTES d'HOFFMANN - Pretoria Opera - October 1998 The Daily Mail: Ikaia-Purdy shines in Contes d'Hoffmann: Keith Ikaia-Purdy is an astonishing Hoffmann, generous of voice without any hint of pressure. Even more pleasing were his considerable acting skills, including the rare ability to attend to what others do on stage. A finer reading of this demanding role is difficult to imagine. ... All in all a production worth seeing, especially for the outstanding Ikaia-Purdy III. Concert performances Music that Unifies II: Joint Concert with Guitarist and Chansonier Peter Horton, and classical pianist Erika le Roux. Wiesbaden Kurhaus 11 November 2007 Wiesbadener Tagblatt: (11. 07)
The evening started right off with a highlight: "Perhaps Love," once performed by the vocal duo of Placido Domingo and John Denver. Now: Ikaia-Purdy, with his focused voice ranging from exquisite delicacy through pure, beaming strength, alongside the securely handsome-voiced Peter Horton. Together their voices melted into a touching unity, with no need to shy before comparisons with their famous predecessors. Indeed not! That the tenor was more than equal to the task of jumping-in for the ill Luciano Pavarotti some years ago at the Vienna State Opera - where he remains a regular performer to this day after his beginnings with the Wiesbaden State Opera - was proved again by Ikaia-Purdy's singing of Pavarotti's songs "If we were in love" from a 1981 film, and "Caruso", a very high lying song, which the ever humble tenor who was suffering a light cold ("We will see how this goes …") sang with masterful bravura. ....
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