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The Absolute, Latest Word from the Press*:
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
Frankfurt-Live.com 27 May 2008
… it was a great honor for Opera Classica to be able to present the beloved tenor star, Keith Ikaia-Purdy, within the historic walls of the (Kloster Eberbach) Basilika.
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
Barbara Dobrzanska, KIP*, A. Kolarczyk, U. Schneider: Anthony Brammal
Premiere of Domink Neuner Production (KIP role debut as des Grieux)
Das Opernglas 1 June 2008
Keith Ikaia-Purdy was persuasive as des Grieux due to his solid, highly expressive tenor voice - secure in its highest register, - and the veracity with which he portrayed his role.
Pamina Klassik online
At the end the singers and musicians were enthusiastically ( lit> stormily) celebrated: the fabulous Barbara Dobrzanska (Manon), whose voice effortlessly spanned the brilliant lightness through the steely, dramatic shading of her role, alongside the balsam-toned, powerful Keith Ikaia-Purdy (des Grieux.).
Badische Neueste Nachrichten
The performances of the two leading roles left no expectation unfulfilled. During the course of the First Act, Keith Ikaia-Purdy sang himself into top form. Every note of this passionate des Grieux was beautifully vocalized, secure and round. Probably the strongest, most passionate and authentic moment came when he insisted on following Manon onto the ship.
Der Neue Merker
Ikaia-Purdy’s tenor, whose sole disadvantage is an unvarying tonal color, made a charming des Grieux with wide ranging dynamics, a firm vocal line in his solos and solid support for his highest register. His despair and self-abasement before the captain as he demands to accompany Manon ( set the coldness and heartlessness of the production into dramatic relief.)
Opernetz
In the role of des Grieux, Keith Ikaia-Purdy revealed a beautiful tenor voice and full mastery of the role's highest heights – there remains some latitude for further variety of expression. In the face of such a large-scaled personality, and beautiful woman (Dobrzanska as Manon,) his self-conscious (inhibited) portrayal was fully convincing. Like her, he gave a deeply moving performance. ... Most celebrated performances by the audience: Barbara Dobrzanska and Keith Ikaia-Purdy.
Badisches Tagblatt
If the lighter, conversational aspect of Puccini doesn’t lie altogether naturally in the throat of Keith Ikaia-Purdy, one would be hard pressed to find his better when it comes to voicing the enthusiasm and passionate outcries of this tormented soul. His characterization of des Grieux was spot on – showing how, just like Manon, he lacks any practical human wisdom: for as she is dying, he stands helplessly beside her… ….
Schwarzwald Bote
The title role was sung by Barbara Dobrzanska, whose performances alongside her regular Karlsruhe stage partner, Keith Ikaia-Purdy (in operas such as LA BOHEME,) often amount to a veritable operatic "dream-pair" casting. … Here again as Manon Lescaut, Dobrzanska made an indelible impression, most particularly in (her second act aria) and in the duet from the fourth act. As her equal partner, Keith Ikaia-Purdy in the role of des Grieux, displayed tremendous development over the course of the performance.
raum K 1 May 2008
The “Singers of the Evening” were, as might only be expected, in best form: The Karlsruhe-Puccini-Dream-Pair, Barbara Dobrzanska and Keith Ikaia-Purdy, sang wtith pleasing timbre and secure vocal technic, and thereby achieved powerfully expressive performances – as for example in the aria of the Chevalier in the 1st act and the aria of Manon and great love-scene of the 2nd act.
Puccini: TOSCA - Badisches Staatstheater Karlsruhe - February 2008
Revival of John Dew Production
Chiara Taigi, KIP, Walter Donatic; Daniel Carlberg
Theatron Kritikos (8.2.08):
A feast for the ears ... Chiara Tiagi was a truly fine Tosca, and Keith Ikaia-Purdy a brilliant Cavaradossi, who brought to my mind Zampieri and the great tenors of earlier days. …. The music and these singers will long resound in my memories.
Verdi: IL TROVATORE - Pfalztheater Kaiserslautern - September 22, 2007
Rosella Ragatzu, Anna Maria Dur, KIP, Walter Donati; Uwe Sandner
Premiere of Bruno Berger-Gorski Production
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. …
Berlioz Requiem Mass, Opus 5 - PROFILE CD - Staatskapelle Edition vol. 20
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:
... The pure tenor voice of Keith Ikaia-Purdy, on the other hand, was a pleasure. That next to his partner (Butterfly) he appeared as pallid as his uniform, was a completely credible interpretation of the simple minded American: With the cottage he has bought himself a little wife as an exotic plaything; he thinks nothing of leaving her, remarrying, then dropping by to pick up the child he's fathered on the geisha. Fortunately, the director, Fritzdieter Gerhards, avoided an overly anti-American interpretation.
Puccini: TOSCA - Badisches Staatstheater - December 2004
Badische Neueste Nachrichten:
...the protagonists comprised a magnificent triumvirate. ... Keith Ikaia-Purdy has often been lavishly praised in this column, and here once again as Cavaradossi his majestic vocal performance made him the worthy equal of the wonderful guest artist (- Fadoyami as Tosca.) His tenor effortlessly conveys a dazzling dynamic range uncompromised by forcing.
Puccini: TOSCA - Théâtre du Capitole, Toulouse - January 2002
Tout Toulouse:
Two casts are alternating: One with Fiorenza Cedolins, Luis Lima and Juan Pons; in the other Nina Rautio, Keith Ikaia-Purdy and Alain Fondary. Which is better? Both! The first one is dramatically more subtle; the second cast was stronger vocally.
La Croix du Midi:
Two singers performed the role of Mario. ... But the real discovery was the Hawaiian Keith Ikaia-Purdy, whose ample and generous voice, homogenous throughout the entire range- sparkling in the upper-third - should guarantee a fine future for the young artist.
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.
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.
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),
26 November 2006 Basel Opera- Premiere of Calixto Bieito Production
Opernwelt Jan. 07:
"Twice Verdi" (Don Carlos in Freiburg & Basel)
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.
Das Opernglas Jan. 07:
The production of Don Carlos by Calixto Bieito in the Basel Opera bore the subtitle: "A Surrealistic, Dramatic Poem in Five Acts." .... Keith Ikaia-Purdy portrayed the title role with a rich, substantial, well-rounded tenor, which exuded bel canto flair most particularly in its middle registration.
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 ...
Neue Züricher Zeitung:
Both as actors and singers the leading performers established a uniformly strong profile. Keith Ikaia-Purdy gave a very convincing 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.)
Mannheimer Morgenpost:
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.
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