Getty: The Canterville Ghost Oper Leipzig Gewandhausorchester & Matthias Foremny

• Gordon Getty (1933- ): The Canterville Ghost:
• 1 Great Grandpapa, Is There Really a Ghost Here? 05:30
• 2 My Dear Otises 05:10
• 3 Daddy, Hurry! Bring the Key! 02:18
• 4 My Dear Sir, I Really Must Insist on Your Oiling Those Chains 01:16
• 5 Rising Sun Lubricator! 03:00
• 6 I Confess Disappointment 02:54
• 7 I Fear You Are Far from Well 01:36
• 8 Insupportable! To Be Lectured on Professionalism! 03:50
• 9 Boo! 00:33
• 10 Unclean! 00:31
• 11 Scene 11 00:35
• 12 Fiasco! Disgrace! 01:17
• 13 Again No Bloodstain on the Armor 01:49
• 14 I Hear the Ghost Has Packed His Bags 02:38
• 15 Barbara! Barbara! Does Anyone Hear Me? 13:27
• 16 Hiram, She Is Nowhere in the House 00:54
• 17 She Isn't Here 00:43
• 18 Thank You, Mrs. Umney. You May All Go to Bed Now 02:45
• 19 My Good Otis, Thank You for Putting Me up Again 02:28
• 20 Then Shall All the House Be Still 08:43
• Total Runtime 01:01:57

Info for Getty: The Canterville Ghost

The Canterville Ghost was first performed in 2015 at Leipzig Opera, with Matthias Foremny conducting the Gewandhaus Orchestra and an international cast of singers. This premiere recording invites us to witness again the delightful culture clash of the Old World invaded by modern Americans, set in a haunted mansion in Victorian England.

The unhappy ghost of Sir Simon, who for centuries has tormented the mansion’s inhabitants, is no match for the new pragmatic owners. Sir Simon attempts to scare them away, but finds himself teased and terrorized by the stalwart Otis family instead. He ultimately finds peace and redemption with the help of young Virginia Otis. Getty’s libretto and music serve up the perfect balance of humor and humanity required to bring the much-loved story to life.

The American Opera Series seeks to highlight the rich and varied examples of how this imported art form has evolved in America. “Wilde’s finest poetry is in his prose, and his finest prose is in his children’s stories. Most are dark. Sacrifice and heartbreak are the themes. The Canterville Ghost looks at the sunnier side. Virginia’s sacrifice, and the ghost’s heartbreak, reach the endings we hoped. Wilde was never in better form. Not many writers could have sent up the stolid Otises or the indignant Sir Simon so richly while leaving us in on their side throughout. The Canterville Ghost is romantic comedy, though with heartbreak and redemption along the way. The dos and don’ts of romantic comedy are pretty much eternal. Wilde has given us one, in short story form, of unique beauty and genius. We laugh and cry, and are enriched. I added music, and some words, with the same intention.”

Alexandra Hutton, soprano
Jean Broekhuizen, mezzo-soprano
Denise Wernly, mezzo-soprano
Rachel Marie Hauge, mezzo-soprano
Timothy Oliver, tenor
Jonathan Michie, baritone
Anooshah Golesorkhi, baritone
Matthew Trevino, bass
Oper Leipzig & Gewandhausorchester
Matthias Foremny, conductor

No biography found.

Booklet for Getty: The Canterville Ghost