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Written by Jody Hirsh, Contributing writer
Mar 25, 2010
“When fascism comes to America,” novelist Sinclair Lewis is said to have proclaimed, “it will be wrapped in a flag and carrying a cross.”
Lewis’ bitingly satirical 1927 novel “Elmer Gantry” aptly illustrates the tension between religion and morality that has always plagued American life and politics. It is especially pervasive today, with the media filled with stories of the sexual scandals of the clergy, revelations of clergy who, despite their homophobic diatribes, are secretly gay or pedophiles, racist claims that the earthquake in Haiti was God’s vengeance on a pagan people, religious opposition to public health care, and, especially, hysteria over gay marriage.
Although set in the early part of the 20th century, the opera “Elmer Gantry,” which was given its Midwestern premiere by the Florentine Opera March 19 and March 21, resonates with our own time. Librettist Herschel Garfein has abridged and restructured the unwieldy and episodic 500-page novel into a powerful morality tale of the rise of a small-time shyster and womanizer who becomes a major evangelical force in pre-World War I Missouri. His relationship with evangelist queen Sharon Falconer, while only a fraction of the novel, forms the core of the opera.
Although Lewis’ novel is a cruel and even comic condemnation of religious hypocrisy and commercial opportunism, the opera is kinder to its characters. Four characters represent a spectrum of “religious” attitudes: Elmer Gantry – the hypocritical, ambitious opportunist; Sharon Falconer – the spiritual innocent who is ultimately corrupted by Gantry’s manipulation; Eddie Fislinger – the sexually perverse minister whose actions are dictated by the need for revenge; and, Elmer’s friend Frank Shallard – the struggling pastor who genuinely seeks God in a cruel world.
Two moments in the opera spotlight both the dark side and the enlightened side of religion. Eddie Fislinger, who later confesses that he “neglected his husband’s duties,” plots with his wife Lulu to bring down Elmer Gantry. In a moment of creepy perversity, Lulu seduces Elmer while Eddie watches. “Been a good girl?” Eddie sings. “No. Been very naughty,” she responds. Lulu proceeds to sing to Elmer a seemingly innocent aria that is shockingly sexual: “A little man stands by a house/Red in the face, for his burden is heavy./…But the threshold is slick and the hallway snug./The man has to struggle and fuss and tug.”
In contrast to the raw vindictive emotions of Eddie and Lulu, Frank struggles with a flawed faith. His scene of self doubt and longing is a highlight of the opera:
“The faith I lack torments me/When I hear the faithful sing./Singing of the friend they have in Jesus,/Eyes closed, rocking to and fro,/God’s assurance surrounds them/With a comfort I will never know.”
The Florentine’s “Elmer Gantry,” which brought together much of the cast from the 2008 Nashville world premiere, was only the opera’s second full-scale production. It was a triumph that was thankfully recorded for posterity by the Naxos International record label.
Garfein’s rich libretto and Robert Aldrige’s luscious music translate a truly American idiom to opera. The music has moments of supreme lyricism, combined with hand-clapping a cappella gospel music and serene hymns. Unlike the most famous bel canto arias, which are soaring melodies with a secondary orchestral accompaniment, Aldridge’s vocal lines are an equal part of the richly textured and contrapuntal orchestral score, which was masterfully played the Milwaukee Symphony Orchestra, conducted by William Boggs.
Highlights were Eddie Fislinger’s diabolical laughing aria, sung perfectly by Frank Kelly, and Frank Shallard’s searing solo, sung by Vale Rideout. In the title role, Keith Phares transformed a complex and difficult part. Sharon Falconer, sung by Patricia Risley, was elegant and touching. Heather Buck’s Lulu was sexy and powerful.
Stage director John Hoomes directed the original Nashville production as well as the Milwaukee production. Kris Stone’s minimal yet elegant sets were impressive.
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