The name Getty instantly conjures visions of money in the billions, corporate takeovers, jet-setting glitter and glamorous lifestyle.
When the Getty is Gordon, all of the above is true and more. Gordon Getty is the creative member of the sometimes troubled clan, preferring to be known as a composer over all the other facets of his rich life.It sometimes seems all but impossible for American music critics to get past the minks, limousines and champagne accompanying a major Getty premiere. But anyone able to listen through the social aspects can find enough quality to make the effort rewarding.
As a composer of limited output, Getty can still boast several choral settings of elegance and a lengthy song cycle entitled "The White Election," based upon poems of Emily Dickinson. His latest work is an opera called "Plump Jack," based on the Shakespearean character of Sir John Falstaff as he appears in both parts of "Henry IV" and in "Henry V."
"The White Election" is the best introduction to Getty's music and the 32 short song settings of Dickinson are available in an exquisite recorded performance on a Delos CD featuring soprano Kaaren Erickson and pianist Armen Guzelimian.
Getty's love for words shines through each song - the simple, lyrical settings illuminating the magical, enigmatic Dickinson words in every measure. It is his devotion to words and the English language that dominate in all but a few short instrumental pieces.
Shakespeare was an obvious challenge to Gordon Getty and "Plump Jack" is at once a touching, tender and zestful study of Falstaff. Unlike Verdi's great "Falstaff" and Nicolai's musical romp in his "Merry Wives of Windsor," Getty gets to the heart of the fat knight, finding something of the eternal child remaining in the aging man whose heart is broken by the king he helped bring to manhood.
"Plump Jack" has been something of a work-in-progress for over five years. The introduction of several brief scenes with the San Francisco Symphony was followed by complete concert performances here and at the Italian Spoleto Festival last year.
From the start, it was clear that Getty's vision of Falstaff was both human and humane. He writes well for the voice and the vocal text is clear throughout. The orchestration for the introductory segments sounded masterful and the promise of more to come was more than welcome.
There is a certain leanness to Getty's musical setting that lends an austere and touching beauty, particularly to the scenes between Falstaff and the young Hal. There remains, however, far too much talk for the term opera to apply to "Plump Jack."
Getty feels that the scenes at court must be spoken, a dying Henry IV not appropriate for singing. I'm afraid that this is completely backwards. The stopping and starting of the singing with pages of spoken Shakespeare tends to negate what the music does very well - adding a measure of insight into the characters and the drama at hand.
In its present format, generally well produced here by the local Marin Opera, "Plump Jack" remains more of a series of scenes with music than a theatrically satisfying whole. Trimmed of much, but not all, of the spoken scenes, Getty's work can still be an insightful meditation on one of Shakespeare's richest creations.
Conductor Hugo Rinaldi's orchestra was on the thin side and the fuller orchestration of the first versions were missed. Tenor-turned-stage director William Lewis brought the work a great deal of energy and understanding. The handsome stage designs were uncredited, which is unprofessional as well as unfair.
Completely professional were the two leading singers. In the title role, bass Dale Travis was vocally and dramatically superb, a major young talent well on the road to operatic success. Hal was performed well by tenor Craig Estep, lacking just a bit in emotional depth. Both he and the composer almost threw away drama's most cruel words, "Old man, I know thee not."