|
Page 1 of 3
The Absolute, Latest Word from the Press*:
Advents
Concert – Johannes Kirche am Werderplatz, Karlsruhe
14 December 2011
Keith Ikaia-Purdy, Daniel Kaiser, Piano and Organ.
Badische
Neueste Nachrichten
16.12.2011
„The Hight Tones: Radiant and Free“
Daniel Kaiser and Keith Ikaia-Purdy
assembled a Christmas program rich in variety. ...
It was astonishing that more fans did
not seize the opportunity to hear anew this beloved singer.
Keith Ikaia-Purdy presented himself in
excellent form, the middle voice was colorful, on high the tone was
radiant and free. His program begin with an excerpt from Leonard
Bernstein's „Mass“ („Simple Song“), ranging on through
Charles Gounod's „Noel“, Cesar Franck's „Panis Angelicus“ (…)
and Bizet's „Agnus Dei“
...Following
the grand aria of Rodrigue, „Ah tout est bien fini! O Souverain, o
Juge, o Pere“ from the 3rd
act of Massenet's „Le Cid,“ came „The Gift of Love“ by
Placido Domingo, Jr., the Spanish carol „La Virgin lava pañales“
and „O Joyful Children“ by Lee Holdridge.
The
successful recital was rounded out by „I'll be Home for Christmas,“
an Advent''s standard once sung by Bing Crosby, and the inevitable
„Silent Night, Holy Night“ (sung in German, English and Hawaiian,
with a congenial misunderstanding among the musicians.)
Massenheim Advent Concert - Protestant Church Hochheim-Massenheim
11 December2011
- R. Vaccaro, KIP, M. Vaccaro; A. Schawgulidse, Piano
Wiesbadener Kurier 13.12.2011
Grand
Opera in a small church: On Sunday evening, 200 listeners packed
the Protestant church from corner to corner - lured here by three
opera singers, Keith Ikaia-Purdy, Romana and Michael Vaccaro. (With a
concert) one year ago, the three had already presented their „vocal
visiting cards“ before an enchanted audience.
… Next. the concert turned to Italian Drama. The selection from Giacomo Puccini's
opera Tosca, the encounter between
the painter, Mario Cavaradossi, and the singer, Tosca, was an obvious one. Appearing together in the „stage
setting“ of the Massenheim Church, Keith Ikaia-Purdy (Tenor) and
his partner, Romana Vaccaro (Soprano) used their powerful voices to
convey the characters' ever-shifting emotional states. Drama
continued with Giuseppe Verdi's adaptation of the power-hungry
Macbeth. (As Macduff,) Keith Ikaia-Purdy sang himself anew into the
hearts of the audience members. …
Taken all together: a concert
celebrated with ovations, presented by performers who know exactly
which songs guarantee success with the public. Vocally a musical
cornucopia ( – lit. „general store“) presented on a superior
level.
Fulda Italian Opera Gala - Orangerie Fulda 28 October 2011
C. Reumann, KIP, Winfridia Chor, Erzgebirgische Philharmonie Aue; C. Rupp, Cond.
Fuldaer Zeitung 30.10.2011
Brilliant Italian Opera Gala
The leading lights of this extraordinary
event were the Fulda soprano Christina Ruemann and the tenor Keith
Ikaia-Purdy.
… Pure emotion was also portrayed by
Keith Ikaia-Purdy, who for more than two decades has been appearing
on the world's greatest stages; his designation by the
newspaper Die Welt as “one of the brightest stars in the
tenor heavens” is by no means exaggeration.
This vocal “power-pack” selected, in
addition to a cavatina ... (from Lucia di Lammermoor,) the demanding
elegy of Macduff (from Macbeth,) and two of Canio's arias (from
Pagliacci) in order to fully display his attributes. With a dramatic,
stratospheric tenor voice of explosive luminosity and steely
brilliance – whose capability for lyricism one can also absolutely
corroborate, Ikaia-Purdy brought to life Canio's breaking heart.
Beethoven, FIDELIO - Burgfestspiele
Dreieichenhain - KIP Role Debut 14. August 2011
Vaccaro, Fründ, KIP, Simpson, Mrosek;
Frankfurt Sinfonifer. S. Wagner, cond.
Offenbach Post 16.08.2011
(Following a blunt critique of the
opera's staging) ... Be that as it may, the singing was highly
respectable. In the prison scene - featuring Leonore, Florestan,
Pizarro and Jacquino (- actually Rocco) - genuine dramatic
tension was achieved. Tallied among the production's assets, in
addition to the Hawaiian tenor Keith Ikaia-Purdy, with his tender,
well-rounded voice, capable of nuanced singing in every vocal range,
must also be listed soprano Jessica Fründ as Marzelline ....
Verdi, LA TRAVIATA - Schloss Braunfels / Opera Classica Europa
12 August 2011
C. Berglund, J. Christ, A.Schmid, KIP, G. Simpson; S. Wagner, cond.
Wetzlarer Neue Zeitung 13.08.2011 / Giessener Zeitung 15.08.2011
With his dark, warm voice and the
devotion expressed in his eyes, Keith Ikaia-Purdy proved himself an
ideal Alfredo - for Verdi intended him as a tender-hearted young man.
With a voice of incomparably molten glow ("unvergleichlichen Schmelz in der Stimme") , he convinced not only Violetta but also
the audience members, whose hearts flew out to him. ...
The singers were brilliant .... and the
audience members were .... thrilled.
Puccini TOSCA - Kloster Bentlage Opera
Gala / Opera Classica Europa 6 August 2011
R. Vaccaro, KIP, G. Simpson, M.
Vaccaro; F.Giacosa, cond.
Ruhr Nachrichten 07.08.2011
... Keith Ikaia-Purdy as the painter
Mario Cavaradossi captivated with his deeply felt and precisely
detailed portrayal. His profoundly amorous aria "Recondita
armonia" was sung with great emotional range and gravity. The
best known and beloved aria from Tosca, "E lucevan le stelle"
was sung with great sensitivity and wonderful melodic sense. ... In
his duets with Romana Vaccaro, a perfect dialogue between great
artists was achieved.
Volkszeitung / IVZ-online.de 08.08.2011
... The performance delighted the many
hundreds of audience members, not least because of its ....
tremendous singers. ... In the title role was Romana Vaccaro ... Her
aria "Vissi d'arte" was met with well earned applause, as
was the famous "Recondita armonia" from Cavaradossi,
brilliantly sung by Keith Ikaia-Purdy. After the aria "E lucevan
le stelle," his solid tenor voice, which remains clear and
expressive on high, was celebrated by all of the audience members
with shouts of "Bravo."
Ponchielli: LA GIOCONDA: Badisches Staatstheater, Karlsruhe
13 April 2011 B-Premiere:
Barbara Dobrzanska, Sabine Willeit, Anna Marie Durr, KIP,
Walter Donati, U. Schneider; Christoph Gedschold, cond.
OPERA TODAY 9 June 2011
... Her (Barbara Dobrzanska's) accomplishment was wonderfully partnered by Keith Ikaia-Purdy’s
ringing Enzo. But stentorian singing of the high order is not his only asset,
for Mr. I-P is above all else a supremely sensitive interpreter of the
multi-faceted moods of the text. Without crooning he can scale back his sizable
tenor to craft phrases of melting beauty, infused with great meaning. Moreover,
his Italianate styling is well-judged and idiomatic. It is bittersweet to note
that this run of Gioconda’s will mark Keith’s final scheduled
appearances with the company. He will be missed in Karlsruhe. In the meantime,
we reveled in his professionalism and craft, including a lovingly shaped,
haunting “Cielo e Mar.”
BADISCHE NEUESTE NACHRICHTEN 14 April 2011
Tenors occupy a special position in
music theater, particularly the Italian variety. Thus Ikaia-Purdy is
due first mention. His vocal material, beaming out brilliantly with sheer unlimited carrying power, demands more than mere respect.
Ikaia-Purdy sang with genuine verve, firmly grounding his
exceptionally powerful voice and thrilling highest tones, in a
commanding posture. ...
Puccini: TOSCA : Badisches Staatstheater, Karlsruhe
18 November 2010
Barbara Dobrazanska, KIP, Stefan Stoll, J. Hochstenbach, cond.
OPERA TODAY
And
what performers they were! If you wanted you could pay ten
times the ticket prices in New York or Vienna and still not see a
cast this good.
Keith
Ikaia-Purdy was born to sing Cavaradossi, the vocal line fitting him
like a glove and highlighting all his strengths. Although
announced as indisposed, he called upon his solid technique to
fill the house with idiomatic, heartfelt Puccinian vocalism of a very
high standard indeed. His steely top notes can assuredly
thrill with a ringing "Vittoria" and the like, but what
sets him apart is his sensitivity to text and his ability to scale
back his voice for nuanced phrasings. When he and his soprano
got revved up in their duets, they were smokin' and you knew you had
come to the right address!
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
6 Vor
... 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
OPERA CLASSIC EUROPA - concert tour
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
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.
<< Start < Prev 1 2 3 Next > End >>
|
