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“THE VIEW FROM THE STAGE”: the Tenor speaks … |
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Page 5 of 7
was crazy. It turned out quite nice I think. In any event, it was the healthy and right choice for me at the time. I was even offered ERNANI for my Carnegie Hall debut. I was dying to get back to the States, and enjoyed working with Eve (Queler); but I told the producers "no;" they were shocked- they said so! but fortunately they came back within a few seasons offering JERUSALEM. Amen! Today, I feel that ERNANI might finally be right for me...
You wouldn't believe how many times I have been offered OTELLO! I am not kidding - and I haven't even sung AIDA complete yet. Del Monaco I am not! (Can you believe the size of that voice?! Jesus-Mary-and-Joseph! That's an Otello. ) You really have to fight these days to maintain any sense in building a career. Of course I understand all my lyric colleagues running to the dramatic roles. 'Loud' pays more - but it costs the singers so much more. To sing lyrically is more difficult. People may think I am crazy, but I only now feel like I could sing and enjoy COSÌ. ... Yea, I know, these days it goes to tenori bianchi, but it wasn't so long ago that Lima, Araiza and even Tucker did it. Cavaradossi - even Calaf- is a cakewalk in comparison. Now at last I'd like to take Ferrando out for a ride...."
To Ikaia-Purdy's way of thinking: "It boils down to taking the long view." With Bergonzi and tenors such as Tucker and Domingo as his models, Ikaia-Purdy manages his repertoire choices with an eye to a career measured in decades, not years. Too many times he has seen the proof of Bergonzi's caution, as colleagues have allowed themselves to overbook their calendars and take on repertoire far too heavy for their means - lured by the short term goals of fast-cash and notoriety. "Yea, such successes are reached quickly, but the singers just as quickly burn themselves out." For his part, these past seasons Ikaia-Purdy has managed - with notable success - to mix, for example, TROVATORE with RIGOLETTO, WERTHER with BOCCANEGRA, and VESPRI with ELISIR - even though these pairing run contra to current repertoire trends. "But hey," says the tenor: "just like badly managed careers, trends come and go." "And frankly, between us: I'd rather be told I have too much voice for a role than too little; but maybe that's just me," he laughs- something he does a lot of. The wisdom of his dogmatic adherence to Bergonzi's admonition can be read in the critical praise and public acclaim garnered by the tenor's most recent stage work.
... A "house tenor" happy at home
The tenor is often asked why he chose, in the face of tempting offers from around the world, to remain for so many years a member of Vienna's house ensemble.
"First off - let's not forget the ‘house' I was supposedly tenor for! ..." He laughs again... "But seriously, all things considered, I feel I've been very blessed in Vienna. Sure disappointments came along - roles I missed out on, or my being obligated to be there when I might have accepted a recording or MET offer. Heaven knows it happened. But the upside - the positives - way outweighed the few negatives.
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