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Getty: Plump Jack - Schirmer

Getty: Plump Jack - Schirmer

PentaTone Classics  PTC 5186445

Stereo/Multichannel Hybrid

Classical - Opera


Gordon Getty: Plump Jack (Opera in two acts)

Melody Moore
Susanne Mentzer
Nikolai Schukoff
Lester Lynch
Christopher Robertson
Robert Breault
Nathaniel Webster
Diana Kehrig
Bruce Rameker
Chester Patton
Chor des Bayerischen Rundfunks
Münchner Rundfunkorchester
Ulf Schirmer (conductor)

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Recording
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Studio One of the Bavarian Radio Munich, May 2011
Executive producers: Lisa Delan (Rork Music), Veronika Weber & Florian Lang (Bavarian Radio), Job Maarse (PentaTone Music)
Recording producer: Job Maarse
Balance engineer: Jean-Marie Geijsen
Recording engineers: Ientje Mooij & Roger de Schot
Editing: Ientje Mooij
Reviews (1)
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Review by Graham Williams - July 23, 2012

Over the last three decades the character of Sir John Falstaff or 'Plump Jack', as portrayed by Shakespeare in Henry IV Parts I and 2 and Henry V, has been something of an obsession for Gordon Getty as his opera has gradually taken shape . This recording of what is described as a 'Concert Version' of the piece was made in the ample acoustic of the Bavarian Radio Studio1 in Munich following a complete performance of the opera that took place at the Prinzregententheater in May 2011.

The 'Concert Version' as heard on this disc consists of the opera's overture - a piece already available on an earlier PentaTone SACD of Getty's orchestral works Getty: Orchestral Music - Marriner, and sections of the opera's twelve scenes. Scenes 1 and 8 are omitted altogether and we are given only excerpts from Scenes 3,5,6,7,9 and 10. Presumably this is to avoid a lot of spoken dialogue that would have necessitated the need for a second disc. The slightly unfortunate result is that we are left with what is in effect a series of disjointed “episodes from Shakespeare” with little opportunity for character development to be demonstrated. The lack of a clear narrative is something that is only provided by Getty's own synopsis in the liner notes.

Getty has described himself as a contemporary composer working in a 19th century idiom and in general it is the case that the music of this opera is basically tonal and definitely accessible. Getty employs a wide orchestral palette with extensive use of percussion, and though his orchestration does show some imaginative touches - as in Scene 2 “Hal's Memory”, one is often pondering the question - to what end? There is a distinct lack of memorable musical ideas and a virtual absence of any sustained lyrical music, though, frustratingly, there are hints of the latter that fail to blossom. The vocal parts consist of continuous recitative, often in a parlando or stentorian declamatory style, whilst conventional arias are absent. The orchestra comments on the action in the manner that resembles that of a film score. This is something that Getty acknowledges in the liner notes, but too often what is happening in the orchestra seems to be disconnected from the vocal line, and a reliance on a series of loud accented chords for dramatic effect does eventually become wearing.

Whatever impression you are left with by the music there is no doubt that Getty's composition has been exceptionally well served by all the performer's and especially the recording team on this project. It would be hard to imagine a better account of this score than that given by Ulf Schirmer, the excellent Munich Radio Orchestra and the Chorus of Bavarian Radio. The playing is lively and incisive throughout and the chorus sing with enthusiasm. The opera's large cast is made up of mainly American singers – the exception being Nikolai Schukoff's splendid Hal. There are no weak links, but the authoritative bass-baritone of Christopher Robertson (Henry IV/Pistol) and a sweet-voiced Melody Moore (Boy/Clarence) deserve special mention.
The PentaTone DSD recording is exceptionally clear and detailed. The balances between singers and orchestra are exemplary and the singers' enunciation of the text is so clear that the supplied libretto is virtually superfluous. Movements of characters are well conveyed as are perspectives in scenes with the chorus.

Those who respond more positively than perhaps I do to the music for 'Plump Jack' will be delighted by this recording. For others it is very much a case of try before you buy.

Copyright © 2012 Graham Williams and HRAudio.net

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