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Robert Aldridge: Elmer Gantry / Boggs, Florentine Opera Chorus, Milwaukee Symphony

Release Date: 07/26/2011 
Label:  Naxos   Catalog #: 8669032   Spars Code: DDD 
Composer:  Robert Aldridge
Performer:  Matthew LauHeather BuckVale RideoutPatricia Risley,   ... 
Conductor:  William Boggs
Orchestra/Ensemble:  Milwaukee Symphony OrchestraFlorentine Opera Chorus
Number of Discs: 2 
Recorded in: Stereo 
Length: 2 Hours 22 Mins. 

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Notes and Editorial Reviews

Robert Aldridge’s Elmer Gantry was premiered in Nashville in 2007 and the next year traveled to Montclair State University in New Jersey. It has since been played in Houston, Minnesota, and Milwaukee; this set was recorded live in the latter in March, 2010. Based on Sinclair Lewis’ 1927 novel that centers on a con-man evangelist, the opera took 17 years of effort by Aldridge and librettist Herschel Garfein to bring it to its Nashville premiere; how ironic that it should find a home in the Bible Belt. Granted, some of the barbed, pointed, focused satire of the original has been toned down; those who have read the novel or have seen the 1960 film (which won three Academy Awards and was scored
Read more by André Previn!) might miss some of the nastiness (Gantry is a monster in the book; Burt Lancaster plays him as a corrupt charmer, with some warmth), but the points about fraudulent evangelism—possibly more relevant today than any time earlier—are well made.

Those looking for wild tonalities, tape loops, or screaming dissonances from the orchestra that comment on the action will be disappointed with Aldridge’s score, which is tonal and cinematic. You’ll find arias, duets, and ensembles—forms familiar from centuries of opera—all lyrical and well-structured. There’s an echt-American sound to Aldridge’s music, and while I can’t pinpoint exact moments where the likes of Copland and Floyd pop up, the harmonies have that wide-open feel that are immediately recognizable. That is not to say the music is either cheap or glib: it is comfortable and, at the same time, dramatically valid. Aldridge includes marches, hymns, quasi-hootenannies, and gospel music into the score where apt, and he doesn’t linger on them for their own sake—they are in context. The opera runs about two hours and 20 minutes and is broken into many scenes. I was not bored for a moment.

Baritone Keith Phares’ performance of Gantry makes me wish I’d seen the show: his charisma comes through the speakers. It’s a grand, grandstanding performance, whether he’s plotting, seducing, or preaching. Frank Kelley, who plays Eddie Fislinger, a real preacher betrayed by Gantry, may not have the greatest voice, but his hysterical aria at the end of the first act, in which he laughs maniacally while plotting revenge against Gantry, is a show-stopper—and a marvelous coup-de-theatre from Aldridge. Sister Sharon Falconer, a true evangelist and Elmer’s fiancée, is sung by mezzo-soprano Patricia Risley. The character is as pure as snow and clearly obsessed, and Risley makes us believe her; she believes every word she preaches. Lulu, Eddie’s slutty wife, is soprano Heather Buck, and she vocally prances her way into Elmer’s bed with a seductive tune that becomes a duet and then a trio—Eddie acts as voyeur to the situation. Elmer’s old roommate with a strong moral center, Frank Shallard, is well-sung by Vale Rideout.

William Boggs leads this ensemble-filled, busy work with love and discernible glee; the work has great energy and so does the performance. The Florentine Opera Company and Milwaukee Symphony are excellent. I was not expecting to enjoy this as much as I did, but I can recommend it very highly. Maybe not to Pierre Boulez, but to people who enjoy a good, well-crafted show.

-- Robert Levine,
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Works on This Recording

Elmer Gantry by Robert Aldridge
Performer:  Matthew Lau (Bas Baritone), Heather Buck (Soprano), Vale Rideout (Tenor),
Patricia Risley (Mezzo Soprano), Keith Phares (Baritone), Frank Kelley (Tenor),
Paul Helm (Tenor)
Conductor:  William Boggs
Orchestra/Ensemble:  Milwaukee Symphony Orchestra,  Florentine Opera Chorus
Period: 21st Century 
Written: 2007 

Customer Reviews

Average Customer Review:  2 Customer Reviews )
 Will the real Elmer Gantry please stand up May 29, 2012 By K. Krueger (Evergreen Park, IL) See All My Reviews "If you fear any opera named "Elmer Gantry" can be little more than a musical remake of the movie of the same name, as I feared, take heart. The opera is much closer to Sinclair Lewis' once scandalous novel. Most importantly, Aldrich's opera brings us deeper into the character of the name character. It's been a half century since I read that book so my memory of it is somewhat limited. But given the failings of age, Lewis was exploring to American passions: college athletics and then then traveling tent shows put on by evangelical Protestant preachers (the equivalent of today's televangelists). That's a tragic combination and it has brought more than the character of Elmer Gantry to his/her ruin. Milwaukee's Florentine Opera and Symphony Orchestra are polished, professional ensembles. They are, clearly, far more willing to explore and present contemporary operas than those more famous companies that seem to specialize on the works of dead Europeans. So, kudos to Naxos for recording this and other similar pieces and for presenting them so wondrously to the world. Together Milwaukee and Naxos offer something well worth hearing, and even some day seeing, perhaps. 4 stars only because any opera must be both seen and heard." Report Abuse
 WINNER OF TWO 2012 GRAMMY AWARDS! March 21, 2012 By B. Becco (Brooklyn, NY) See All My Reviews "I am a huge fan of traditional operas (up through Berg and Britten) but only a sometime fan of contemporary American operas. However, I noticed that OPERA NEWS rated ELMER GANTRY as its #1 Opera Recording of the Year for 2011 (out of all operas!). Then in following the Grammy Awards this year I notice that ELMER GANTRY won two: For Best Contemporary Classical Composition and Best Engineered Classical Recording. So I bought it, and I am completely sold on it. It's almost shockingly tuneful and dramatically propulsive; starts with a bang and never lets up. I also found I really cared about the characters, laughed at their foibles, but was really moved by them in ways I would never have expected. This is a major operatic work in the tradition of (but not really sounding exactly like) Bernstein and Copland. Add it to your opera shelf ASAP!" Report Abuse
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