[Translated from French] If we applaud Mister Getty's taste in the great texts of English-language literaure, how can we be infinitely more reserved about his talents as a librettist and, above all, a composer? Just as his treatments offer pale reflections of the masterpieces of Shakespeare, Poe, and Wilde, his music is sorely lacking in dramatic intensity, and indeed induces a good dose of boredom. The Canterbury Ghost lacks a good deal of the finest and most exquisite humor infused in Oscar Wilde's short story, and attends too much to the sentimental side, as evidenced by the prologue (which takes place around 1960) and the final scene. Resolutely tonal, Getty's score brings vocal lines of desolate expressive poverty, constantly punctuated by arpeggios or leaps that cause great wearines. Associated with the Ghost and his bygone time, the harpsichord happily brings a welcome color into this orchestral wasteland... [Matthew Treviño in the title role] gives some interest to this recording of an opera that will certainly not go down in history.