Upcoming Performances
Screenings of “Goodbye, Mr. Chips” at Des Moines Metro Opera
Varsity Cinema, 1207 25th Street, Des Moines, IA
Goodbye, Mr. Chips is presented by Des Moines Metro Opera in partnership with Des Moines Film and Varsity Cinema.
Festival Napa Valley presents recital of Gordon Getty’s piano works by Forrest Eimold
CIA at Copia Ecolab Theatre, 500 1st Street, Napa, CA
Festival Napa Valley presents Festival Live! Forrest Eimold, with pianist-composer Forrest Eimold performing a program of Gordon Getty’s piano music.
News
The latest on compositions, performances, and recordings.
New studio recording of “Goodbye, Mr. Chips” released on Pentatone
In January of 2025, Pentatone released a new studio recording of Gordon Getty’s fourth opera, “Goodbye Mr. Chips.”
Gordon Getty’s complete literary works released
On July 18, 2024, Festival Napa Valley held a book launch for Gordon Getty’s newly-published book “Upon A Day”
Featured Recordings
Gordon Getty’s oeuvre spans orchestral works, song cycles, and full length operas.
Goodbye, Mr. Chips (2025)
Gordon Getty’s opera is based on James Hilton’s beloved 1934 novella “Goodbye, Mr. Chips” and other stories. It tells the heartwarming story of Chips, a beloved schoolteacher portrayed by tenor Nathan Granner.
Featured Reviews
A complete archive of reviews of works by Gordon Getty, including performances and recordings.
David Patrick Stearns: GETTY Goodbye, Mr Chips
Getty the librettist allows ample leeway to Getty the composer, whose neo-tonal language – more respected now than 20 years ago – is readily comparable to Gian Carlo Menotti’s melodic but not necessarily tuneful idiom. Getty doesn’t aim to please; he aims to move. Talking to their deceased loved ones is a way of life for some – and in the case of Mr Chips, Kathie answers back, making her a pervasive after-death presence.
Read the full review on GramophoneKeith R. Fisher: GORDON GETTY Goodbye, Mr. Chips
I cannot recall ever having a more intimate operatic experience than listening to Gordon Getty’s touching opera based on the acclaimed James Hilton novella. The scoring is for what sounds to me like a chamber orchestra with prominent keyboard, harp, and percussion parts. As befits the poignancy of Hilton’s story, Getty’s approach (he wrote the libretto as well) is all very lyrical. Rarely do the dynamics get as loud as forte, as in pastoral English music by the likes of, say, Delius, but for all that there is no monotony. There are, however, stylistic similarities to the vocal writing of Britain’s leading opera composer, Benjamin Britten (which should be taken as high praise). The style is tonal and traditionally melodic.
Read the full review on Fanfare