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KAWITI WAETFORD COMPLETES A GOOD YEAR

Thu, 17 Nov 2011 23:54:00 +0000

Twenty-one year old New Zealand baritone, Kawiti Waetford is about to complete his second year of study at the University of Otago in New Zealand. He is studying for a double degree in music, linguistics and languages, under Isabel Cunningham and Professor Terence Dennis.

In 2010 he was the recipient of several prestigious scholarships, including the Allens Educational Foundation Scholarship; and the University of Otago Maori and Pacific Island Scholarship. Earlier this year Kawiti was awarded the Ngarimu VC and Maori Battalion Scholarship for 2011.

His attainments and potential were recognised with grants from the Kiri Te Kanawa Foundation for travelling and tuition expenses and a scholarship to attend the 2011 Solti Te Kanawa Accademia Del Bel Canto in Tuscany. To read Kawiti’s report on his Tuscany experiences >>>

Other highlights for Kawiti during 2011 included the invitation to be a guest soloist (along with NZ tenor Simon O’Neill and internationally acclaimed mezzo soprano Frederica von Stade) in a unique concert given by Dame Kiri to raise funds for Southern Opera and the Christchurch Symphony after the September 2010 earthquake. In October he joined Dame Kiri (and NZ baritone Teddy Tahu Rhodes) to sing at the Rugby World Cup Gala Concert arranged by the New Zealand Symphony Orchestra in association with the Kiri Te Kanawa Foundation.

Earlier this year he was the subject of a short documentary which was screened on Maori Television. To view this documentary >>>

ANY MUSIC STUDENT TAKING PART IN A MASTERCLASS WITH A TOURING SUPERSTAR LIKE KIRI TE KANAWA WOULD CONSIDER THE EXPERIENCE ITSELF THE REWARD (The Australian, October 12, 2011)

Thu, 17 Nov 2011 23:50:00 +0000

So Carlos Barcenas, a Colombian tenor currently studying in Melbourne, was still stunned that such an opportunity had come his way. On Sunday one of the world’s most famous sopranos was holding a public masterclass with six students from the Melbourne Conservatorium of Music when the moment came for Barcenas to perform. He sang Puccini's E lucevan le stelle from Tosca and Te Kanawa, currently on a tour of Australia, was blown away.

She got in touch with Barcenas the next day and asked him to join her on tour."She's been completely lovely with me," the 37-year-old said today. "She's been a really good person. She's supported me and been really nice."

Last night Barcenas took the stage at the Melbourne Town Hall as part of Te Kanawa's concert.

She was also joined by another special guest, NZ baritone Phillip Rhodes, and accompanied by pianist Terence Dennis, but it was the presence of Barcenas that was the story of the night.

Te Kanawa asked the tenor to sing the aria he had sung at the masterclass, and to sing it again when she performed at the outdoor concert in the Hunter Valley.

Barcenas, who recently performed in the nation's first indigenous musical Pecan Summer, and next year will take on the title role in the Victorian Opera's production of Master Peter's Puppet Show, said the exposure was invaluable. He also said Te Kanawa's praise served as a validation for his chosen career.

"When someone of the calibre of a worldwide performer says she wants you to sing with her, it's reassuring that you're doing something well and that you can be a professional singer in the world," he said.

A few hours before taking the stage, though, he admitted to a few nerves about the high-profile engagement. "I have to say, when I got the information I was like, 'Oh god, that's quite big.' You get nervous for a while."

Caption: Masterclass students – Carlos Barcenas back of group

MARKETING EFFORT CREATES INTERNATIONAL AWARENESS

Thu, 17 Nov 2011 23:47:00 +0000

‘Talent is a gift…to be nurtured and developed’ is the theme of a campaign aimed at creating awareness for the Kiri Te Kanawa Foundation and its objectives. The full page colour advertisement and associated editorial has so far appeared in programmes for the 2011 BBC Cardiff Singer of the World competition and all Dame Kiri’s recent concerts and recitals in Australia and New Zealand. To view the advertisement >>>

TALENT IS A GIFT

Thu, 17 Nov 2011 23:44:00 +0000

Those who have been blessed with it deserve the opportunity to nurture and develop it to the full. We need your help, to help them ... to live their dreams.

Donations to the Foundation of any size are always welcome and very important for the continued aim of supporting talented singers and musicians.

Regular contributions are particularly welcome and recently the Foundation was delighted to welcome Professor Jack Richards as an Associate Patron in recognition of his long term commitment of support for the Foundation.

Your donations are important.

The Kiri Te Kanawa Foundation and the Kiri Te Kanawa Foundation (UK) are registered charitable trusts which offer a range of opportunities to support their work. Further information about how to make a donation is on the website or contact the Foundation for details.

YOUNG SINGERS APPRECIATE UNIQUE MENTORING OPPORTUNITY

Thu, 17 Nov 2011 23:41:00 +0000

Back in 2004 when the Foundation was created the original focus was naturally on raising funds. It did not take Dame Kiri and the trustees too long to realize that in addition to financial support most young singers need judicious mentoring, help with vocal technique and voice maintenance, advice about media and agents and stage craft.

As a result Dame Kiri sets aside time to mentor and coach small groups of singers at her home – usually in the company of selected professional colleagues who also share their knowledge and experience. Here is feedback from 3 New Zealanders who attended a recent weekend at Dame Kiri’s home...

“We just had an absolutely wonderful time out at Kiri's house this weekend. The combination of coaches worked really well and we got some very good intensive work done. I was incredibly happy to be introduced to conductor Robin Stapleton, whom I'm hoping to continue working with in London, and as always Peter Lockwood had insightful contributions throughout the weekend - hoping to go spend some time working with him in Amsterdam as well if possible. Also, Michael Pollock, though mainly playing this weekend, was very generous in taking us aside to work a few things through, and I hope to work further with him also. Thank you again to the Foundation for sponsoring these weekends”. (Joanna Foote).

“It was a really good weekend. The combination of Peter Lockwood and Robin Stapleton was certainly dynamic, and to say the least hard-core. We were given a good grilling, but of the most helpful kind, and having Michael Pollock supporting us on the Piano was also such a privilege, and made all the difference. Dame Kiri was as always warm and incredibly hospitable”(Claire Egan).

“The crew filming my TV documentary was with me for 8 days ending with the two day workshop at Dame Kiri's home. Much thanks must go to Kiri for opening her home to the crew during this time, I realise she is a woman that holds her privacy very dear and rightly so. It was a tough weekend with Robin Stapleton, Peter Lockwood, Michael Pollock and Dame Kiri tearing strips of all four singers. I truly believe that in order to get the best out of any coach simply put 2 or more in one room with a singer and turn a camera on! It was an exhausting experience but valuable none the less. It's times like those that I am so grateful to own a recorder, as I have so much information on that small device to decipher through, information that only a genius could retain in an hour. To give you an idea of it, just imagine four gym sessions squeezed into one, or better yet texting while riding a push-bike on the motorway...blindfolded!” (Phillip Rhodes).

HAWAII MASTERCLASS & FUNDRAISER

Thu, 17 Nov 2011 22:41:00 +0000

During a recent concert tour in Hawaii Dame Kiri took time out to help local students and some fundraising activity. Aria asked Karen Tiller, Executive Director of Hawaii Opera Theatre to describe what happened … “Hawaii opera patrons were thrilled by the recent appearances of Dame Kiri Te Kanawa in Honolulu and on the island of Maui. Though her public concerts were the highlight of her time here, she also participated in two events that were educational in nature... something truly dear to her.

Dame Kiri began her work in the islands with a Masterclass with students from the University of Hawaii as well as artists who are part of the Hawaii Opera Theatre Orvis Studio Program. Dame Kiri worked with 6 young artists for over three hours... imparting wisdom and constructive criticism. The students were gushing after the event, one saying, "It is just incredible to have one-on-one time with one of the greatest singers in opera history."

Neiman Marcus of Honolulu hosted a special dinner in honor of Dame Kiri and Hawaii Opera Theatre. Seventy-Five patrons enjoyed a small mini-recital and conversation with the artist. True to form, Dame Kiri wowed this group not only with her incredible musical artistry, but her generous conversation about her life, career and foundation. Speaking for nearly 40 minutes, every patron felt by the end of the evening, they had real insight into her life. It was an incredibly special night with proceeds supporting both the Hawaii Opera Theatre and The Kiri Te Kanawa Foundation in equal measure.

Hawaii loved everything she did in the islands... we can't wait until she comes back!”

UNITED KINGDOM FOUNDATION NEWS

Thu, 17 Nov 2011 22:39:00 +0000

The Kiri Te Kanawa Foundation (UK) is a Charitable Trust established by Dame Kiri in the United Kingdom as a separate organisation with no legal connection to the Kiri Te Kanawa Foundation based in New Zealand.

Both foundations have identical aims and objectives except the UK Foundation recently changed its objectives to allow it to consider supporting singers identified by Dame Kiri - regardless of their origins (not necessary New Zealand born). In the past support has been given by the UK foundation to a number of New Zealand and international singers just commencing their careers – including sopranos Joanna Foote (New Zealand), Julia Lezhneva (Russia) and Laurayna Bendziunaite (Lithuania) and tenors Chen Chen (China) and Roberto Ortiz (Mexico).

Both Foundations are chaired by Dame Kiri and work very closely on many Foundation projects.

To contact the Kiri Te Kanawa Foundation(UK) – foundation@kiritekanawa.org

MASTERCLASS AT OPERA STUDIO MELBOURNE

Thu, 17 Nov 2011 22:37:00 +0000

A message from the Opera Studio Melbourne.

‘We were delighted and privileged to welcome Dame Kiri Te Kanawa to The Opera Studio Melbourne. Dame Kiri spent the first hour meeting and listening to the 6 selected singers which was followed by an informal discussion about singing and careers over lunch.

A fascinating 3 hour Masterclass followed. Words of advice, wisdom, insight and the occasional extra treat of demonstration were generously imparted, and our singers equipped themselves beautifully in a highly pressured situation! Congratulations to all; and a sincere thank you to both Dame Kiri and Terence Dennis, for generously donating their time and expertise to the singers of The Opera Studio Melbourne.

Photo - Melbourne Masterclass

KA MATE – A MAORI WAR SONG BREATHES NEW LIFE

Thu, 17 Nov 2011 22:34:00 +0000

During World War I over 2000 Maori soldiers became part of the New Zealand army. Known initially as the Native Contingent, they joined the NZ Mounted Rifles and the ANZAC forces at Gallipoli, then the Somme, Messines and the Rhine. In 1915, news film of the NZ troops was shown in NZ, and in that coverage Maori soldiers could be seen chanting the fearsome haka of the Maori chief Te Rauparaha.

Possibly inspired by the widely seen footage, a composer using the nom de plume Terangi Hikiroa honoured the Maori soldiers with a ‘Maori War Song’ which incorporated the haka as a rousing chorus. After World War I the song was performed widely throughout NZ and recorded and sung by a number of singers including the great Maori bass Ina Te Wiata.

Dame Kiri proposed that the Foundation acquire rights to the music and commission Carl Doy to write an arrangement for orchestra and soloist. This was successfully completed and the song was sung Phillip Rhodes at Dame Kiri’s concert in the Hunter Valley. Kawiti Waetford sang it with Teddy Tahu Rhodes to much acclaim at the Rugby World Cup Gala Concert. Two weeks later Kawiti sought permission to sing the song in the Maori Song section of the 2011 New Zealand Aria competition which he subsequently won.

The Foundation now holds the music and will be making it available on request.

Credit: Historical notes - Max Cryer

BEQUESTS – LEAVING A GIFT IN YOUR WILL

Thu, 17 Nov 2011 22:32:00 +0000

Few people today will be familiar with the name Dorothy Francis Craig, yet this little known New Zealander played an important role in the establishment of the Kiri Te Kanawa Foundation. At the time that the Foundation was being established a bequest of £20,000 was received from the executors of her estate – Dorothy had been a great fan of Dame Kiri. So Dorothy provided the Foundation’s first bequest and what better way is there to reflect your love of music.

Leaving a bequest is a simple procedure that allows you to include the Foundation as a beneficiary of your will. Bequests are usually directed to the Foundation for use at the trustee’s discretion but they can also be directed towards a specific purpose such as a music scholarship for a talented singer, musician or conductor identified by the trustees as meeting all the required criteria. Leaving a gift in your will is one way to make the type of gift that you may not be able to make during your lifetime.

If you’d like to discuss this matter further or would like sample language for your lawyer please contact the Foundation office.

PHILLIP RHODES – A YOUNG SINGER ON THE RISE

Thu, 17 Nov 2011 22:20:00 +0000

Phillip Rhodes recently sent a report to the Foundation trustees on his progress. Here are excerpts from that report...

“The last month has been extremely demanding yet one of the most enjoyable months of my time here in the UK. Let me start by saying that I am extremely honoured that Kiri has had enough belief in me and the improvements I have made to insert me into a number of concerts, beginning with a concert in Amsterdam.

It is always a privilege to see Dame Kiri at work. There are certain things that cannot be taught in the classroom, and I will be forever grateful to Kiri for allowing me the see every little detail and the possible pitfalls and what to expect when putting a tour together. This is another lesson in organisation, the art of being surrounded by people that will not take their eye off the ball, as every little bump on the road has a follow-on effect.

The second concert was in Israel and again Kiri gave a concert that belies her age, with a very difficult programme of songs and arias that demand the utmost in control and discipline. Reviews of Amsterdam read here >>> and Jerusalem read here >>>

The last of the concerts was held back in London in honour of Sir Colin Davis and whilst only one aria was required by me on this occasion the desired result came to fruition with the director of the Edinburgh Festival being present and very interested in trying to make something happen for me in the very near future.”

In August Phillip returned to Australia and New Zealand for concert appearances. For the Auckland Philharmonia, he took the baritone solos in Orff’s Carmina Burana; he performed in recital with Dame Kiri at the Melbourne Town Hall and then appeared as her guest for the ‘Opera in the Vineyards’ concert at the Wyndham Estate in New South Wales. As Aria went to press it was announced that Phillip will sing the title role in the brand new opera Hôhepa for the 2012 New Zealand International Arts Festival.Subsequently Phillip returned to Australia and New Zealand for concert appearances. For the Auckland Philharmonia, he took the baritone solos in Orff’s Carmina Burana; he performed in recital with Dame Kiri at the Melbourne Town Hall and then appeared as her guest for the Opera in the Vineyards concert at Wyndham Estate in New South Wales. As Aria went to press it was announced that he will sing the title role in the brand new opera Hôhepa for The NBR New Zealand Opera at the 2012 New Zealand International Arts Festival.

Photo - Julian Reynolds, Dame Kiri & Phillip Rhodes at Carre Theatre, Amsterdam.

FROM FLAXMERE TO THE WORLD – THE JOURNEY OF BARITONE PHILIP RHODES

Thu, 17 Nov 2011 00:06:00 +0000

The inspiring story of Philip Rhodes, a 31-year-old New Zealand baritone and rising star of the operatic world, premieres on Maori Television on Saturday, 19 November at 8.30pm.

RHODES ACTOR SINGER traces Rhodes’ journey from suburban Flaxmere in the Hawke’s Bay to Europe as a student of acclaimed Kiwi soprano Dame Kiri Te Kanawa.

The hour-long documentary explores how Rhodes overcame challenges and developed his talent in the demanding world of international opera, supported and encouraged along the way by Dame Kiri and the Dame Kiri Te Kanawa Foundation.

Rhodes and his five sisters were adopted by a Flaxmere community leader’s family when he was five; his foster father, Henare O’Keefe recognised his potential as a performer and encouraged him to make the most of his talent.

In 2005, that talent was recognised when Rhodes won the Lockwood Aria and then in 2007, the Lexus Song Quest. These wins brought him to the attention of the Dame Kiri Te Kanawa Foundation, which awarded him a grant to study at the prestigious Cardiff International Academy of Voice.

RHODES ACTOR SINGER covers key people in Rhodes’ life, from his father Henare, his high school teacher Ken Keys and his first singing teacher, Jill Tobin.

Dame Kiri discusses the story of her six-year-old foundation and how it has evolved to support young singers and musicians and propel them to international success.

Whilst the documentary premiers on November 19 in New Zealand it will be available for global viewing from November 19-26 (at least) by visiting the Maori Television website - www.maoritelevision.com. To view click on ‘Shows’ then ‘Pakipumeka Aotearoa’ tabs.

KIRI TE KANAWA FOUNDATION ANNOUNCES SUPPORT FOR THE NEW ZEALAND OPERA SCHOOL

Thu, 17 Nov 2011 00:05:00 +0000

The New Zealand Opera School, based annually during January in Wanganui, is delighted to announce that the Kiri Te Kanawa Foundation will be the sponsors for the final Opera School concert ‘Great Moments of Opera 2012, in the Royal Wanganui Opera House.

The School, based at the Wanganui Collegiate School, is now in its 18th year and Dame Kiri announced that her Foundation’s motivation for supporting the School was to show their support for this important live-in school which has to date and will continue into the future to provide a vehicle for young New Zealand singers to develop their skills in the presence of their peers and to experience their own live performances. ‘We see the School’, she said, ‘as an invaluable experience to support our primary aim of identifying and assisting New Zealand singers of recognisable ability to complete advanced classical vocal studies and ultimately develop international careers’.

In welcoming the announcement the Director of the School, Donald Trott, said this is a significant step in the life of the School.

JAMES IOELU RECEIVES FOUNDATION SCHOLARSHIP

Thu, 17 Nov 2011 00:00:00 +0000

James Ioelu was recently granted a $10,000 scholarship in recognition of the progress he has made and his personal efforts to secure significant funds to support his first year at the Manhattan School of Music in New York.

James is a 25 year-old baritone who began singing as an 18 year-old. Born in Auckland, New Zealand he grew up as a classically trained pianist. In his high school years he was given the opportunity to broaden his musical knowledge with the introduction to the bass guitar, jazz piano and drums as well as playing in a number of school music bands. It wasn’t until his later teen years that James discovered the art of classical singing and opera.

2008 proved to be a big year for James winning the Becroft Aria and the Young National Performer of the Year in Voice. These successes were followed by being a quarter-finalist in the Sydney Aria Competitions and a finalist in the New Zealand Aria competition receiving 4th place and a summer school scholarship.

In 2010 he was accepted to study at the prestigious Manhattan School of Music where he embarked on a 4 year degree. He made sufficient progress there to impress his tutors who in turn recommended support from the Kiri Te Kanawa Foundation.

Joan Sutherland & Richard Bonynge

Mon, 28 Feb 2011 13:02:00 +0000

Joan Sutherland & Richard Bonynge, Bel Canto Award, Prizes valued at over $50,000

Adjudicated by Maestro Richard Bonynge AO CBE

Four of the greatest names in opera are united to present this new award in honour of Dame Joan Sutherland and Maestro Richard Bonynge in 2011 - Dame Joan Sutherland, Maestro Richard Bonynge, Dame Kiri Te Kanawa and Sir Georg Solti.

The Joan Sutherland and Richard Bonynge Bel Canto Award has been established in memory of the late Dame Joan Sutherland and to honour both she and her husband, Maestro Richard Bonynge’s extraordinary legacy to the operatic world. With an emphasis on Bel Canto singing, a style of singing made famous by Dame Joan, this Award is open to ALL professional and non-professional opera singers aged 20 - 30 years from Australia and New Zealand.

In addition to cash prizes valued at over $40,000, for the first time offered in Australia, the winner will not only receive a $30,000 scholarship but also be accepted into the Solti Te Kanawa Accademia di Bel Canto in Italy for 2012 (valued at over $10,000). This prestigious summer school, under the expert guidance of Jonathan Papp (Royal Academy of Music, London), Lady Solti and Dame Kiri Te Kanawa, specialises in the art of Bel Canto singing.

Each year, only twelve singers from around the world are accepted into this world renowned course. The singers work with such celebrated artists as: Richard Bonynge, Frederica von Stade, Dame Kiri Te Kanawa, Sir Thomas Allen and John Copley, including world class language coaches and directors, all specialising in the lyric tradition and preservation of the Bel Canto technique and repertoire. The guest teachers for 2012 will be the internationally acclaimed Romanian soprano Angela Gheorghiu and renowned Welsh tenor, Dennis O’Neill CBE.

Since 2004, over 95 singers have benefited from the Solti Te Kanawa Accademia's summer course and showcases in London and Italy. The course is an intense experience providing participants with the opportunity of a lifetime. “For many it is the gateway to a successful professional singing career.” http://www.soltitekanawaaccademia.org

“This programme is about teaching the singers how to own their voices. This is a philosophy close to Solti’s heart and it is the intention of the Accademia to foster this self-discovery in support of the next generation’s top talent.” Dame Kiri Te Kanawa

Twelve Semi Finalists will be chosen from the Heats and six Finalists from the Semi Finals.

Entry forms will be available from the JSS website: www.joansutherlandsociety.com or at foundation@joansutherlandsociety.com

Semi Final: 1st August, 2011 @ 6.30pm | Final: 23 September 2011 @ 7.00pm
Verbrugghan Hall, Sydney Conservatorium of Music
Accompanied by: Sharolyn Kimmorley AM
JOAN SUTHERLAND & RICHARD BONYNGE

The Joan Sutherland and Richard Bonynge Opera Foundation

With the formation of the Joan Sutherland and Richard Bonynge Opera Foundation at the end of last year, the Joan Sutherland Society and its Foundation are proud to announce the Patrons, Board of Directors and Artistic Advisory Council for this newly formed Foundation.

Sixty years ago, a young Joan Sutherland dreamt of singing at Covent Garden. For hundreds of young singers every year they share that very same dream. The initial aim of the Foundation will be to endeavour to help some of our most talented singers fulfil that dream by providing them with the necessary tools so they can develop their craft, fulfil their potential and accomplish their goals and ambitions. The Inaugural Bel Canto Award is just one way of support.

The Foundation will also aim to honour and perpetuate Dame Joan Sutherland & Richard Bonynge’s legacy - two of the world’s greatest operatic and recording artists. The Foundation is extremely grateful to all our esteemed Patrons, Directors and Advisors for their commitment to enhancing our operatic culture and honouring the extraordinary contribution made by Dame Joan Sutherland & Maestro Richard Bonynge to the world of opera.

Patron - Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales
Life Patron - Maestro Richard Bonynge AO CBE
Honorary Patrons - The Rt Hon Sir John Major KG CH - Dame Norma Major DBE - Lady Solti - Ms Marilyn Horne - Mr Adam Bonynge
Board of Directors - Maestro Richard Bonynge AO CBE - Lady Potter AC - Mr Donald McDonald AC - Mr Alan Jones AO
Mr Cyrus Meher-Homji - Ms Elizabeth Connell - Mr Duncan Kinnon
Artistic Advisory Council - Mr Dennis O’Neill CBE - Mr Malcolm Donnelly AM - Ms Yvonne Kenny AM - Ms Sharolyn Kimmorley AM
Mr John Pringle AM - Mr Keith Lewis CNZM - Ms Bernadette Cullen - Ms Fiona Janes

From NFL to rising opera star

Mon, 20 Dec 2010 11:30:00 +0000

This is an amazing story about a young man who played NFL but dreamed of being an opera singer - and describes how Dame Kiri is helping young singers all over the world to achieve their dreams. It appeared earlier this month in the Ethiopian Review and is reprinted here with the editor’s permission.

(Exciting young lyric tenor Ta’u Pupu’a was born on the South Pacific's Polynesian island of Tonga. At an early age he came with his family to Salt Lake City, Utah. Growing up, his two passions were football and music. He attended Weber State University on a football scholarship while pursuing a Bachelor of Music degree, during which time he was "discovered" by Bill Belichick and drafted to the N.F.L. to the Cleveland Browns and on to the Baltimore Ravens. After sustaining an injury playing for the N.F.L., he changed career direction to follow his first passion – opera.)

Even when Ta’u Pupu’a spent almost every waking hour lifting weights, studying game film and playing his way into the National Football League, the music was there. It had soared into his heart when he was a boy, cascading down from his brother’s bedroom, and never left. So once football decided it was done with him, spitting him out in the cruel and unforgiving way it often does, Pupu’a turned back to the music.

Embraced it, and chased it.

Now, after all these years, the music is just about the only thing that concerns him. The bel canto is his Belichick, the aria his snap count. Now, the one-time defensive lineman who defied astounding odds to reach the NFL from a small Utah college is a heralded opera tenor on the verge of an equally improbable and wondrous international career — touched by some of the biggest names in the business — and he does not have much use for shoulder pads anymore.

“I just want to sing,” he says. “That will make me happy.”

Walking confidently through the halls of the legendary Juilliard School on the Upper West Side of Manhattan, Pupu’a betrays no hint of the emptiness that led him back to the music. Dressed all in black with smooth black hair and a carefully trimmed goatee, he smiles warmly at the colleagues he passes and hugs a good friend while waiting for the elevator.

Looks as if he could still play ball, too.

Pupu’a stands 6-foot-5, with the broad shoulders and purposeful carriage of a serious athlete, though he figures he weighs some 50 pounds less than the 290 he did when he played football.

A native of the island of Tonga whose family moved to Salt Lake City when he was a toddler, Pupu’a was an athletic standout at Highland High School and Weber State University. He played so well for the Wildcats during a losing season as a senior — and showed such amazing speed for his size in postseason workouts — that the Cleveland Browns made him a fifth-round pick in the 1995 NFL Draft.

Even by then, though, his rich voice was attracting attention.

Pupu’a had grown to love opera music while reluctantly listening to his brother play it at home, and impressed those at Weber State for whom he had performed at a banquet. When he sat on the bleachers at Wildcat Stadium for an interview shortly after being drafted, he already was planning to play five or six years in the NFL, then quit and pursue a singing career.

“Since Pavarotti is getting ready to retire,” he said at the time, “they’re going to need somebody for the spotlight.”

Finally, after an arduous and amazing journey he could never have imagined, the spotlight has found him.

“He’s a major, major, major, major vocal talent,” said Stephen Wadsworth, the renowned director who acts as a mentor to Pupu’a at Juilliard. “He has a world-class voice … and he’s a very engaging and dear person on-stage and off. The potential there is very, very exciting.”

Pupu’a never really works out anymore, he says, except to unconsciously hoist himself higher and higher on his toes as he reaches the highest notes during a rehearsal in a bare room seemingly built for dance — full-length mirrors on one side, with ballet bars mounted on the other stark white walls.

“Football and singing are the same,” he says later. “The preparation of learning the role versus learning a play, the physical aspect of it. … They go hand-in-hand.”

Maybe that’s part of the reason it was so hard to accept the end of his football career.

Pupu’a was depressed for months after that happened — he accepted an injury settlement after two seasons with the Browns and Baltimore Ravens, in which he did not play in a regular-season game — and moved back to Utah uncertain of his future. Having grown up poor as the youngest of nine children, he felt as if he had tasted “the greatness of the world,” yet had it yanked away. He had played football almost all his life, and did not know what to do without it.

He couldn’t even stand to watch games on television.

But Pupu’a had joined the chorus of the Utah Opera and found a place in other occasional concerts, and kept hearing people tell him he should do something more with his beautiful voice.

Finally, he remembered his plan. He took a chance, and chased his dream.

When Pupu’a moved to New York City in 1999, he had little aside from his dream.

No voice teacher, no school, no language skills. Didn’t really read music. He was majoring in music at Weber State, but never graduated.

“Nobody wanted to take me, because I was so green,” he recalled.

He stayed with an old college friend and took a job as a host at O’Neals’, a now-defunct restaurant across the street from Lincoln Center that afforded him both a view of The Metropolitan Opera every time he came and went and the chance to meet the industry giants who came to eat after the performances.

“I would just watch them,” Pupu’a said, “and go, ‘Hmmm. I wonder what makes them tick? I want to tick that way.’ ”

Eventually, he found an elderly voice teacher who coached him for several years, helping him learn the basics of his craft and work his way into the smaller opera groups around the city. He found his own apartment.

And then, he found his big break.

Having seen the famous soprano Kiri Te Kanawa perform at The Met, Pupu’a decided he needed to meet her. So he attended a book signing, waited in line nearly an hour, and found himself face-to-face with one of the greatest opera singers of all time — a fellow Polynesian, no less. Te Kanawa is half-Maori, a native of New Zealand.

During their brief conversation, as Pupu’a recounts it, Te Kanawa commiserated with him about the difficulty of forging a career on the opera stage.

Then, “she looked at me and said, ‘I want to help you,’” Pupu’a recalled. “‘How can I help you?’ ”

The doors were opened.

In the months that followed, things happened quickly for Pupu’a, though even he acknowledges that he did not fully appreciate the beneficence at the time. He met Wadsworth, the director of opera studies at Juilliard, and through Te Kanawa, who runs a foundation to assist aspiring singers, he met Brian Zeger, the artistic director of the department of vocal arts there.

Before long, Pupu’a was auditioning for Zeger — five arias and a monologue, with only a month to prepare and the chance at a rare scholarship to the prestigious school.

“I was just praying that I got in,” Pupu’a said.

He did.

One of just a dozen performers accepted, Pupu’a entered the school in 2008 on a two-year program in opera studies that he later extended to three years. “It’s not even really a degree track, it’s a pre-professional track,” said Janet Kessin, a spokeswoman for Juilliard. “It’s the most advanced program we have,” designed to hone performers for serious careers.

Back home, the family — his father and four siblings still live in the Salt Lake City area — was astounded.

“I remember thinking to myself, ‘Wow, this is the make-or-break moment for him,’ ” said Tipi Pupu’a, whose interest in opera music rubbed off on his younger brother. “If he gets into the school, he’s going to be exposed to the best teachers and coaches and all of that kind of stuff. … When it actually happened, I thought the door has been opened, and it’s up to him now to just make the most of it.”

That’s just what he did.

While Pupu’a already had performed parts of La Boheme, Rigoletto, Madame Butterfly and Tosca with various local and regional companies, he soon was playing the Kennedy Center in Washington, opposite Tyne Daly in Terrence McNally’s Master Class, and working again with the Alexandria Symphony Orchestra in nearby Virginia.

He also attended an intense month-long language course in Tuscany to improve his Italian and won a spot performing with Te Kawana on what he called a “magical night” as part of the annual Solti / Te Kanawa Accademia di Bel Canto.

Then came Tanglewood.

At first, Pupu’a didn’t want to go.

Even though Wadsworth had recommended he audition for the role as Bacchus in Strauss’s Ariadne auf Naxos at the Tanglewood Music Festival in Massachusetts last summer, Pupu’a feared he would not be able to handle such a demanding role — and in front of the celebrated conductor and director James Levine, the longtime musical director at The Met and Boston Symphony Orchestra.

So he faked a toothache and skipped the audition.

“I was really nervous about it,” Pupu’a says, shaking his head. “I don’t know …”

Fortunately for him, the Tanglewood organizers called back two months later to ask if he was still interested. They arranged for him to audition for Levine a week later — not much time to learn the material. But this time, Pupu’a went, and Levine hired him on the spot, asking only that Pupu’a return in three weeks with a better handle on the role.

He did, meeting Levine at hallowed Carnegie Hall.

“I walked on that stage,” Pupu’a recalled, “and I looked out at Carnegie Hall and I thought to myself, ‘All of my opera heroes have graced this stage, and now I’m on this stage.’ So I stood there and I sang for Levine. And he said, ‘Great. I’m excited to work with you.’ ”

Levine ultimately had to pull out of the performances because of back surgery, but that did not affect the performances — or the reviews.

Pupu’a “seems to have limitless power, so far not entirely tamed,” critic James R. Oestreich wrote in The New York Times. “But the voice has real gold in its best moments.” In The Boston Globe, reviewer David Perkins called Pupu’a a “tall and handsome Bacchus” who “grew in vocal strength and by the end of the love duet was making a truly heroic sound.”

Looking back, Pupu’a almost can’t believe it.

What would have happened if he had never been hurt playing football? If he had never taken a chance and moved to New York? If he had never sought out Te Kawana or been accepted into Juilliard or auditioned for Levine?

“I don’t know,” he says. “I would have gone down that other path. But I believe that everybody is blessed with talent, and it’s up to you to find that talent. I was fortunate enough to have two, and to realize what those two were.”

Since Tanglewood, a variety of offers have rolled in.

Puccini in New Zealand?

Verdi in Albany?

Beethoven in Shanghai?

“Everybody in the business knows the guy,” Wadsworth said, noting his “complete openness” and ever-improving nuance and repertoire on stage.

Indeed, the future seems to be rising to meet Pupu’a, who still occasionally mixes up “halftime” and “intermission” and drops bits of song into conversation. What he knows for sure is that he graduates the Juilliard program in May, after performing in The Metropolitan Opera Guild’s cruise to Spain and Morocco next month.

After that?

It’s anybody’s guess.

But a tremendous career almost certainly awaits, and Pupu’a knows what lies in his heart.

“My dream is, I just want to sing,” he says. “I want to sing with an incredible technique, with an incredible voice. I just want to be an incredible singer … a singer that has everything. It doesn’t have to be at the Met. It could be at a small opera company. The Met is a bonus, of course. But a lot of singers will put all their eggs in one basket and just say The Met. And if they don’t get The Met, they’re really disappointed. I just want to sing, and that will make me happy. “I guess that’s the reason a lot of things are happening in my life,” he added, “because I just want to sing.”

On the verge of stardom Ta’u Pupu’a always knew he wanted to build a career as a singer, even when the Highland High School graduate was leaving Weber State University to play in the National Football League. Now, years after a foot injury ended his football career, the former defensive lineman is fulfilling his dream by blossoming as a tenor with a “world-class voice” who’s poised to become one of the stars of the international opera scene.

Dame Kiri shares her thoughts

Mon, 20 Dec 2010 11:30:00 +0000

2010 has been a very busy and productive year for the Foundation - looking ahead at some of the projects being planned in 2011 is likely to be just as busy. During the year we announced five grants supporting a number of very talented young singers – many of whom I was also able to mentor and help in a workshop environment.We launched our new website and welcomed the BNZ as our latest corporate sponsor - we were all delighted with the success of the recent concert we were able to provide at Opera Factory for the BNZ and their guests.

There are many talented singers emerging – I’m particularly pleased that we are supporting 19-year-old baritone Kawiti Waetford to enable him to continue his studies in Dunedin. We have great hope for his future.

You may recall my concerns that current UK legislation is making it very difficult for NZ singers to live and sing professionally following completion of their studies in the UK. The problem being that by the time students have completed their tertiary education in NZ and graduated from one of the UK music schools they are usually nearly 30 – the age beyond which they can no longer apply for a working visa – and regardless of their age they have no significant income record or appropriate degrees which are required to earn points to support a working visa application. Consequently these young talented people have to leave the UK and return home to face retraining for new careers.

The good news is that following my meeting with NZ’s Prime Minister John Key and contact with my own Member of Parliament here in the UK there appears to be light at the end of the tunnel and potential solutions to this problem. We shall wait and see.

Finally, thank you for your continued support of the Foundation and help for all those young singers and musicians to realize their dreams. I extend my best wishes to you and your families for a very Happy Christmas and New Year.

Working with young singers

Mon, 20 Dec 2010 11:30:00 +0000

During the year Dame Kiri takes time out from her international concert schedule to mentor and coach small groups of young singers studying in the UK. This is usually in the form of full day sessions at her home when she invites some of her professional colleagues to join her to share their knowledge and experience. The feedback from the selected singers is inspiring as you can tell from these excerpts from their letters......

Just a quick note to say we had another wonderful few days of workshops at Kiri's house over the weekend.

It was great, and very intensive. We had Kiri, Anne Howells and Peter Lockwood all giving us lots of tips on technique, language and musicality. Anne had lots of wonderful tips on singing French which I found particularly helpful, and I found the whole weekend very productive. As always it was accompanied by lots of laughs and great food, so a perfect weekend really. Claire Egan

The day was great for me in being able to touch base with the foundation after the Accademia - and gave me a sense of support having just arrived in London! Knowing that the Foundation, and so many people involved in the industry are behind us and are able to help, gives that extra boost of confidence and peace of mind - in this field full of so many unknowns! Thank you again to the foundation for their help. Joanna Foote

I mentioned to Kiri and the others that while Germany is providing a lot of auditions and opportunities for young singers, living here is quite isolating, as we've just moved to Stuttgart and once again I've found myself without a teacher and without a support network of other singers. I am lucky to have a husband who stands behind me 100%, but I had been feeling somewhat "out of the loop" and the trip to Kiri's reminded me of how many people want to help us succeed, and how all young singers are experiencing struggles, vocally and professionally, and really you aren't alone! Georgia Emms

The workshop was a very valuable opportunity to work on new audition repertoire, it was great to have the opportunity to meet and hear other singers, and also to work with Annie Howells who I had not met before. Casting Director Sarah Playfair was also there, and it was very useful to hear her perspective on casting and advice on how to present in an audition situation. I would like to thank The Foundation for providing this opportunity, such a useful initiative; I do hope to be able to attend workshops in the future. Carleen Ebbs

Today I had the opportunity to work with Anne Howells, Peter Lockwood and Dame Kiri Te Kanawa herself at her home. I had an amazing time and gained a lot from the experience including finding a beauty to my voice that I thought I'd lost. I am truly grateful for this as I feel I have something to work with that can truly polish me to be a great Tenor of international quality. Without workshops like this singers like myself would be unable to progress to the highest level and reach our full potential. So I'd like to thank the Foundation for all the work you are doing behind the scenes to raise money to allow these activities to take place and may it continue. Shaun Dixon

Recently my wife Emma and I spent the day at Dame Kiri’s house working on upcoming repertoire. We enjoyed yet another jam-packed session of learning and sage advice. For myself it was a good opportunity to have a systems check on my voice before I start my first full time contract. For my wife it was purely invaluable – Dame Kiri was very patient and giving with her knowledge. The major highlight for Emma was singing through the final scene of Rosenkavalier as Sophie and with Dame Kiri as Marschallin ! Wade Kernot

A special concert

Mon, 20 Dec 2010 11:29:00 +0000

Foundation trustee Stephen Dee now resident in the UK reports on a special concert he attended recently in London – ‘On November 25 I had the privilege of attending a superb concert given by three young New Zealand sopranos, including two who have been working with the Foundation. Going by the name ‘Alaudiae’ (see www.alaudiae.com) , Carleen Ebbs, Claire Egan and Miranda Westcott performed a programme ranging from Bach, Handel, Rossini and Schubert to de Falla and Barber. These talented women were supported by a wonderful orchestra of young musicians. The concert took place in a delightful church in Hampstead, and was very well attended. The organisation, programming, marketing and presentation of the concert was really well done, showing that these talented young artists are not short of gumption and courage, not to mention glamour, as the accompanying photo testifies.

(pic - from left to right, Carleen Ebbs, Miranda Westcott and Claire Egan)

Foundation appoints Musical Advisor

Mon, 20 Dec 2010 11:27:00 +0000

For some time Dame Kiri had felt that the Foundation needed be able to react quicker to assess opportunities to support talented New Zealand singers. She believed that there was a need for another pair of experienced NZ ears/eyes in the UK to help quickly assess the singers coming through to ascertain if they have what it takes to make it at the highest international level – and consequently are deserving of Foundation support and mentoring.

To rectify this problem Kiri proposed that the Foundation appointed Peter Lockwood as its Musical Advisor in the UK.

Peter is a New Zealander with an international reputation as a repetiteur and accompanist. He was previously with the music staff of Theatre Royal de la Monnaie (Brussels) and Scottish Opera before accepting his current position with Netherlands Opera in 1993. He works regularly with young singers at the start of their careers and has given master classes and courses for young singers and repetiteurs in Belgium, Holland, Germany, United Kingdom and the United States. He has extensive experience of the European operatic scene and knowledge of exactly what the profession expects from those that wish to enter it.

Peter’s role is to act as a central liaison point between Dame Kiri, the Foundation and the students/young professionals who have received grants from the Foundation. He will also be able to assess NZ singers studying in the UK and be available to provide career advice and local knowledge about the music colleges.