Robert ALDRIDGE (b.1954)
Elmer Gantry - Opera in two Acts [2:21:38]
Elmer Gantry - Keith Phares (baritone); Sharon Falconer - Patricia Risley
(mezzo); Frank Shallard - Vale Rideout (tenor); Eddie Fislinger - Frank Kelley
(tenor); Lulu Baines - Heather Buck (soprano)
Florentine Opera Chorus; Milwaukee Symphony Orchestra/William Boggs
rec. live, 19-21 March 2010, Marcus Center for the Performing Arts, Uihlein
Hall, Miwaukee, Wisconsin.
Full libretto included.
NAXOS 8.669032-33 [69:24+72:14]
I have never read the Sinclair Lewis novel Elmer Gantry, and am unable
to comment on the skill with which the librettist, Herschel Garfein, has adapted
it for this opera. What is obvious from the result, however, is that both
composer and librettist are very much men of the theatre, knowing how to use
words and music to create dramatic structures. This may be due in part to
the long genesis of the opera. It was first conceived in 1990, drafted for
piano-accompanied workshop performances in 1992 and 1994, and finally achieved
full stage performance in 2007 in Nashville. The present recording derives
from the third set of performances, clearly much enjoyed by an audience whose
applause and occasional laughter is apparent but not distracting.
Elmer Gantry is set in the world of revival evangelism in early twentieth-century
America, where the gap between the message being preached and the reality
of the preachers was notably wide. All of the leading characters are in some
way crooked or inadequate but all are intent on making a success of their
particular brand of religion, mainly for reasons of greed. Aldridge has made
very good use of the musical idioms of that time, admittedly a real gift to
the composer but used here with great success both in set pieces and as a
general stylistic background. The plot is involved and concerns the devious
rise of the central character in various evangelical groups, and his relationships
with other evangelists. It is divided into no less than fourteen scenes and
has parts for numerous minor characters. There is no time for the audience
to get bored as the potent mixture of religion and sex passes quickly by.
I would love to see it on stage, with an imaginative producer and designer
and with really theatrical singers in the main parts.
What we have here, however, is simply the music. Naxos are to be congratulated
on a splendid presentation with the full text in the booklet as well as articles
about the opera and the original novel, a synopsis of the former, and photographs
of the production on which the recording is based. However, whilst I can admire
the skill of composer and librettist I find it hard to discover much that
is especially imaginative or memorable in the opera. It is never less than
professionally written or performed but neither does it seem to rise far above
that basic level of competence. - not that this is something that can by any
means be taken for granted with new operas. As it has already had three sets
of performances it clearly works in the theatre, which must be the true test
of opera. I look forward to hearing it live, but in the meantime I am glad
to have had the opportunity to get to know it through these discs. There is
much to enjoy here even if I suspect that this is not a work I will wish to
return to often.
John Sheppard
There is much to enjoy here even if I suspect that this is not a work I will
wish to return to often.