Meet the Artist: Keith Pun

We are delighted to introduce our guest artist, Keith Pun, who is performing with us in the world premiere of Alex Ho's stagework, Untold, at Hackney Round Chapel on 5 November 2019!
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Praised by Opera magazine as “...an extremely resonant countertenor...”, Keith Pun is frequently in demand on both recital and concert platforms. Equally comfortable in historic and contemporary repertoire, he has performed Fairy in Purcell's 'A Fairy Queen' with the London Early Opera Company, Narciso in Handel's 'Agrippina' at Dartington International Festival, as well as the role of Chai Ping in 'The Original Chinese Conjuror' by Raymond Yiu for Leeds Opera Festival. He also performed as a soloist for the Pulitzer prize-winning opera 'Angel’s Bone' by Du Yun in Hong Kong New Vision Arts Festival.

Keith Pun in Raymond Yiu's 'The Original Chinese Conjuror'. Photo by Pelly&Me Photography

Hi Keith! Introduce yourself to us.
I am a countertenor born and raised in Hong Kong. I began playing the piano from 4 and then picked up singing relatively late when I was 17, before moving to the UK to study at the Royal College of Music. I am now based in Ghent, Belgium, at the International Opera Academy.
 
How did you get into singing as a counter-tenor?
For a school assignment I had to review a concert of my choice, so I picked a random concert where the German countertenor, Jorg Waschinski, was singing. It left a huge impression on me, so much so that I began to sing at home whilst accompanying myself on the piano. I really enjoyed it and luckily it seems to be working well for me so now I don’t have to accompany myself!

What is your favourite aria?
This is definitely too hard answer with one aria! Some of my favourites are Piangerò la mia sorte by Handel from his Giulio Cesare, Brunhilde’s immolation scene at the end of Wagner’s epic Ring cycle, Cortiganni from Verdi’s Rigoletto, and so many more!
 
What is the most rewarding part of being an opera singer?
Singing your heart out and then the APPLAUSE. *sighs*

Why do you think new opera is important today?
Just like any other art form, it is always good to stretch boundaries (if there even is one). I have been lucky enough to perform in several new operas, not least Du Yun’s Pulitzer Prize-winning opera, Angel’s Bone, Raymond Yiu’s The Original Chinese Conjuror, and Reimagined Turandot, an adapted version of Puccini's Turandot by Ruth Chan, performed by an ensemble of Chinese instruments at Grimeborn Festival. The sheer breadth of these operas and their stories, from dealing with issues of human trafficking, to a tragic death of a magician, to a cultural re-centering of a classic, shows how opera is very much alive and breathing today.

What have you been up to recently and what are your future projects?
I have just returned from Beijing, where I had a great time performing Du Yun's Angel’s Bone once again at the Beijing Music Festival. I’ll be performing in Bach’s Christmas Oratorio next month and then a few concerts in Belgium with the International Opera Academy. I’ll then be preparing to perform Eurindo in Stradella’s La forza dell amor paterno with Barber Opera.

See Keith Pun perform with Tangram on 5 November at Hackney Round Chapel! Tickets available here.