This performance is not the North American premiere: Mascagni conducted it in Philadelphia on October 14, 1902, followed by performances at the Metropolitan Opera, Baltimore, Pittsburgh, Buffalo, and Boston. The Metropolitan staged again in 1907, 1915, 1931. It was also done in Boston (1908 and 1917), and Chicago (1908). And more recently, the New Jersey Opera performed it in 1988, and a concert performance was given in New York City in 1998 by Teatro Grattacielo. In his autobiography, Mascagni said that Iris was more popular than Cavalleria in America.
First time I listen to this opera. A great discovery. It deserves to be more famous. About this production, I think that everything was excellent, the singers, the orchestra, everybody. The soprano Iris was fabulous, as well as the tenor. Superb.
A beautiful set up. Very accurate direction. Very good singers (Iris fabulous!). Fabulous orchestra, excellent conduct.Mascagni's music was really well highlighted
Questa pregevole opera filosofico-musicale di Mascagni che viene eseguita poco in Italia, trova maggiori consensi all'Estero e questo dovrebbe stimolare anche noi Italiani a rappresentarla più spesso. La scenografia in questo caso avveniristica e fantastica, pur discutibile ha un suo fascino.
Iris si an opera that deserves to be much better known and performed. I love the ending of Act 1 «La casa! Il mio giardino!...» at 52,40 , it's even better on the Giuseppe Patané version with Placido Domingo, Juan Pons... wow
I firmly believe that Mascagni got his inspiration to write the music for Iris (the soprano) from Puccini's Manon Lescaut, which was premiered 5-6 years before the premiere of Iris. Even the way they perish at the end is highly similar.
Perhaps, but when I listened to this great opera for the first time, my impression was that this opera inspired Puccini a lot when he composed Madama Butterfly and Turandot.
È un’opera che dovrebbe essere rappresentata di più anche in Italia. Ci vorrebbe più coraggio dai teatri, che non sanno andare oltre Tosca e La Traviata
@@fabriziogarzi9892 Vero! Il problema è che soprani e tenori non studiano quest’opera perché sanno che raramente viene rappresentata. Gli insegnanti di canto dovrebbero proporla come argomento di studio. E’ una partitura difficile, straordinaria. Credo che più di qualcuno tra le nuove leve della Lirica potrebbe almeno trarne giovamento sotto il profilo tecnico. Stesso discorso per le orchestre: facile ormai eseguire Turandot in modo superficiale. Dovrebbero studiare questo spartito
The Blind Man: Matthew Boehler, bass Iris: Talise Trevigne, soprano Osaka: Gerard Schneider, tenor Kyoto: Douglas Williams, baritone Geisha: Cecelia Hall, mezzo soprano Ragpicker/Merchant: Samuel Levine, tenor American Symphony Orchestra, Leon Botstein, Music Director Director: James Darrah Act 1 The opera begins with an invisible choir singing a "Hymn to the Sun", the second best-known piece in the opera. Iris, the young and innocent daughter of a blind old man, Il Cieco, lives happily, enjoying the sun and the simple things of nature. Osaka, a young lord in search of adventures, plans to kidnap her with the help of Kyoto who keeps a geisha house. During a puppet show, Osaka enters disguised as a child of the sun, singing the serenade "Apri la tua finestra [Open Your Window]", the most famous selection in the opera. He conquers the heart of Iris, and Samurai carry her off, conducting her to Kyoto's geisha house called Yoshiwara. Before leaving, Kyoto anonymously leaves money on Il Cieco's doorstep, as well as a note telling him where she has gone and implying that she has abandoned him. Act 2 At Yoshiwara, where, according to the libretto, the sun never penetrates, Iris wakes up under the illusion of having died and gone to Paradise. Osaka arrives and tries to seduce her but fails to persuade her to yield to his advances. Tired and annoyed by her simplicity and innocence, Osaka tells Kyoto to get rid of her. Instead Kyoto, hoping to make some profit off Iris, exposes her to the crowds on a balcony of the house. Il Cieco, having assumed that Iris went to the geisha house of her own accord, comes there. He curses her, repeatedly flinging mud in her face. She is overwhelmed by sudden madness at her father's incomprehensible actions. Before anyone, including the remorse-stricken Osaka who has returned, can stop her, Iris rushes back into the house and throws herself down a shaft leading to a sewer. Act 3 The next morning in the sewer, ragpickers begin stealing Iris' silken clothing; she revives, frightening away the ragpickers. She quickly becomes delirious and imagines that she hears the voices of the three men, first Osaka, then Kyoto, and finally Il Cieco, each mocking her. She rejoices when she feels the warm rays of the rising sun, accompanied by a return of the "Hymn to the Sun", and she dies. Tendrils of flowers bear the soul of Iris to heaven.
This is not the North American premiere of Iris. Mascagni toured the USA in 1911 and performed Iris in several cities. The Metropolitan Opera last did it in 1931 conducted by Toscanini no less. (It was the last opera he conducted there) and the New Jersey Opera did it in 1988.
Thanks for this, David. I was fortunate to see the UK run of Iris at Opera Holland Park.in 2016. They staged its first London run for over 90 years in 1997. If you go to the right performance there, you can see Mascagni's grandaughter and great grandaughters in the audience.
bella opera aunque Puccini es superior con Madame Buterfly, esta opera iris suena a verismo y romanticismo. Madame Buterfly es superior en orquestacion, armonia, exotismo. pero bueno se aplaude el esfuerzo de Mascagni
Mascagni was the first to introduce the exotic vein. Iris 1898, Butterfly 1904. Iris's harmonization is superior to that of Madama Butterfly. Puccini fails to surpass Mascagni neither in orchestration nor in harmonic situations
Consentitemi... Puccini per le dame, Mascagni per gli intelletti orientati verso la luce. L' Intermezzo della Cavalleria Rusticana basterebbe...occorrerebbero 2000 Butterfly. Ciò detto, i gusti sono gusti, ovvio!!! Mascagni, scrivendo la Cavalleria Rusticana, penso avesse capito la necessità e l' urgenza di intervenire e mettere dei paletti, affinché l' Opera non si degradasse, fino ad arrivare a essere una trasmissione della D' Urso o della De Filippi, tanto per cercare di fare un esempio calzante.
This should be released on DVD 🎉 A terrific production of a neglected masterpiece, well sung and acted 👏🏼
本当に素晴らしい演奏をありがとうございます✨感激です(*^^*)
30年近いマスカーニの大ファンです。
素晴らしい舞台演出、合唱、オーケストラ。マスカーニの音楽を堪能させて頂きました。
オーケストラと歌がとても寄り添って、聞き取り安く音楽も急がず、どの部分も本当に心にしみました。
舞台のデッサンもとても素敵で、踊りや影と光で、英語もイタリア語も分からない単なるマスカーニ好きの心にとても染み入りました。黒と白の対照や、イリスの花びらが芸者の上昇と共に、黒く吸い上げられたり、芸者の素足が太ももまで見えたりする演出、盲目の父の変質的な愛の演出、どこも音だけでは知り得ない、演出家の魂を魅せられました。本当に感動です。テノールの１幕のアリアも私は大拍手です。歌手の思いにしっかりと寄り添ったとハープの演奏は、この合唱とオーケストラの全幕通しての素晴らしい演奏の証明でもあると思いました。２幕のイリスのアリアに入る前のオケのスタッカートやしっかりと歌う弦と、またタイトルロールは本当に素晴らしかったです。歌手のブレスも無理をせず自然で、とても音楽的。芸者のみなさん、男性も踊りも演技も表情もカッコいい。芸者の歌手の方はあのプロポーションで素晴らしい歌手なのでビックリしました。コーラスのみなさんもとてもレベルが高く、全部を通して、表現者の魂を感じさせて頂きました。日本の地方都市に生きているので舞台をあまり見たこともないので、このアメリカの素晴らしいレベルの舞台を見ることが出来てとても幸せです。マスカーニファンとして心から感謝申し上げます。
皆様の健康とご多幸をお祈りしております。本当にありがとうございます✨✨
This performance is not the North American premiere: Mascagni conducted it in Philadelphia on October 14, 1902, followed by performances at the Metropolitan Opera, Baltimore, Pittsburgh, Buffalo, and Boston. The Metropolitan staged again in 1907, 1915, 1931. It was also done in Boston (1908 and 1917), and Chicago (1908). And more recently, the New Jersey Opera performed it in 1988, and a concert performance was given in New York City in 1998 by Teatro Grattacielo. In his autobiography, Mascagni said that Iris was more popular than Cavalleria in America.
First time I listen to this opera. A great discovery. It deserves to be more famous. About this production, I think that everything was excellent, the singers, the orchestra, everybody. The soprano Iris was fabulous, as well as the tenor. Superb.
A beautiful set up. Very accurate direction. Very good singers (Iris fabulous!). Fabulous orchestra, excellent conduct.Mascagni's music was really well highlighted
So glad that you enjoyed Mr. D'Alesio!
ABSOLUTELY SUPERB !!!!
Questa pregevole opera filosofico-musicale di Mascagni che viene eseguita poco in Italia, trova maggiori consensi all'Estero e questo dovrebbe stimolare anche noi Italiani a rappresentarla più spesso. La scenografia in questo caso avveniristica e fantastica, pur discutibile ha un suo fascino.
I don't understand this opera is not more often played. It's a marvel ...
I know it is quite randomly asking but does anybody know a good website to stream new series online ?
@Adriel Rocco I use flixzone. Just search on google for it =)
@Eugene Titus yea, have been watching on FlixZone for months myself :D
@Eugene Titus thanks, signed up and it seems to work :) I really appreciate it !!
@Adriel Rocco you are welcome :D
Wonderful! Thank you for posting! 🙂
Brilliant performances! First class orchestra and conducting!
Iris si an opera that deserves to be much better known and performed. I love the ending of Act 1 «La casa! Il mio giardino!...» at 52,40 , it's even better on the Giuseppe Patané version with Placido Domingo, Juan Pons... wow
Excellent, both in staging and on the musical side (singing and conducting). One of the best performed Iris nowadays.
イリス(日本のあやめさん)全曲。大変に珍しいマスカーニの幻想的なオペラでしたね。日本人は殆ど知らないと思います。確か、同年代のプッチーニの蝶々夫人の成功に刺激されて、日本を舞台にそれも、日本独特の風俗の芸者のあやめさんを主人公に据えましたね。実は、私はマスカーニに興味を持つていて、12月に全曲の録音を手に入れます。マスカーニ独特のナイーヴな且つドラマティック、それでいてマスカーニ独特の音楽。この全曲を先に鑑賞させて頂きます。TH-camに取り上げて頂き感謝しています。約2時間30分、聞かせて頂きます。ありがとうございます。
Wonderful production, Bravi tutti and Bravissima Talise, beautifully sung and played!
I firmly believe that Mascagni got his inspiration to write the music for Iris (the soprano) from Puccini's Manon Lescaut, which was premiered 5-6 years before the premiere of Iris. Even the way they perish at the end is highly similar.
Perhaps, but when I listened to this great opera for the first time, my impression was that this opera inspired Puccini a lot when he composed Madama Butterfly and Turandot.
È un’opera che dovrebbe essere rappresentata di più anche in Italia. Ci vorrebbe più coraggio dai teatri, che non sanno andare oltre Tosca e La Traviata
Hai ragione ma tenore e soprano dove li trovi? Iris non si puo' eseguire in maniera "intimista".
@@fabriziogarzi9892 Vero! Il problema è che soprani e tenori non studiano quest’opera perché sanno che raramente viene rappresentata. Gli insegnanti di canto dovrebbero proporla come argomento di studio. E’ una partitura difficile, straordinaria. Credo che più di qualcuno tra le nuove leve della Lirica potrebbe almeno trarne giovamento sotto il profilo tecnico. Stesso discorso per le orchestre: facile ormai eseguire Turandot in modo superficiale. Dovrebbero studiare questo spartito
Волшебство!!! Обожаю Пьетро Масканьи !!! " Сельская честь" плачю от восторга! Благослови Бог Пьетро!
Wonderful performance.
The Blind Man: Matthew Boehler, bass
Iris: Talise Trevigne, soprano
Osaka: Gerard Schneider, tenor
Kyoto: Douglas Williams, baritone
Geisha: Cecelia Hall, mezzo soprano
Ragpicker/Merchant: Samuel Levine, tenor
American Symphony Orchestra, Leon Botstein, Music Director
Director: James Darrah
Act 1
The opera begins with an invisible choir singing a "Hymn to the Sun", the second best-known piece in the opera.
Iris, the young and innocent daughter of a blind old man, Il Cieco, lives happily, enjoying the sun and the simple things of nature. Osaka, a young lord in search of adventures, plans to kidnap her with the help of Kyoto who keeps a geisha house. During a puppet show, Osaka enters disguised as a child of the sun, singing the serenade "Apri la tua finestra [Open Your Window]", the most famous selection in the opera. He conquers the heart of Iris, and Samurai carry her off, conducting her to Kyoto's geisha house called Yoshiwara. Before leaving, Kyoto anonymously leaves money on Il Cieco's doorstep, as well as a note telling him where she has gone and implying that she has abandoned him.
Act 2
At Yoshiwara, where, according to the libretto, the sun never penetrates, Iris wakes up under the illusion of having died and gone to Paradise. Osaka arrives and tries to seduce her but fails to persuade her to yield to his advances. Tired and annoyed by her simplicity and innocence, Osaka tells Kyoto to get rid of her. Instead Kyoto, hoping to make some profit off Iris, exposes her to the crowds on a balcony of the house. Il Cieco, having assumed that Iris went to the geisha house of her own accord, comes there. He curses her, repeatedly flinging mud in her face. She is overwhelmed by sudden madness at her father's incomprehensible actions. Before anyone, including the remorse-stricken Osaka who has returned, can stop her, Iris rushes back into the house and throws herself down a shaft leading to a sewer.
Act 3
The next morning in the sewer, ragpickers begin stealing Iris' silken clothing; she revives, frightening away the ragpickers. She quickly becomes delirious and imagines that she hears the voices of the three men, first Osaka, then Kyoto, and finally Il Cieco, each mocking her. She rejoices when she feels the warm rays of the rising sun, accompanied by a return of the "Hymn to the Sun", and she dies. Tendrils of flowers bear the soul of Iris to heaven.
This is not the North American premiere of Iris. Mascagni toured the USA in 1911 and performed Iris in several cities. The Metropolitan Opera last did it in 1931 conducted by Toscanini no less. (It was the last opera he conducted there) and the New Jersey Opera did it in 1988.
Thanks for this, David. I was fortunate to see the UK run of Iris at Opera Holland Park.in 2016. They staged its first London run for over 90 years in 1997. If you go to the right performance there, you can see Mascagni's grandaughter and great grandaughters in the audience.
BRAVISSIMI ¡¡¡¡¡¡¡¡¡¡¡¡¡¡¡ ...............
Peccato il baritono con poco volume. Va beh, un capolavoro, un’opera di riferimento per tutto il filone del verismo.
Simbolismo, non verismo. Di verismo qui non c'è proprio nulla.
@@krantiyatri2107 ma vai a studiare
@@maury0009 Purtroppo ha ragione amico mio
A B S O L U M E N T M A G N I F I Q U E !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
bella opera aunque Puccini es superior con Madame Buterfly, esta opera iris suena a verismo y romanticismo. Madame Buterfly es superior en orquestacion, armonia, exotismo. pero bueno se aplaude el esfuerzo de Mascagni
Mascagni was the first to introduce the exotic vein. Iris 1898, Butterfly 1904. Iris's harmonization is superior to that of Madama Butterfly. Puccini fails to surpass Mascagni neither in orchestration nor in harmonic situations
Consentitemi... Puccini per le dame, Mascagni per gli intelletti orientati verso la luce. L' Intermezzo della Cavalleria Rusticana basterebbe...occorrerebbero 2000 Butterfly. Ciò detto, i gusti sono gusti, ovvio!!! Mascagni, scrivendo la Cavalleria Rusticana, penso avesse capito la necessità e l' urgenza di intervenire e mettere dei paletti, affinché l' Opera non si degradasse, fino ad arrivare a essere una trasmissione della D' Urso o della De Filippi, tanto per cercare di fare un esempio calzante.
Great singing, great orchestra, horrible beyond words production.
lui non si puo' proprio sentire....abituati a Pippo