Grazie di ❤ per la condivisione di questa bellissima rappresentazione che ricordo bene...Cast stellare!!!Direttore Magico! Infine commovente ultima recita di quel colosso della Lirica che fu Nicola Ghuaurov.
When this was performed at Wexford Festival Opera in 1995 the final chorus was sung from the dress circle in the old Theatre Royal, leaving Iris alone on stage. It was spine tingling.
Iris: Daniela Dessì, soprano Osaka: José Cura, tenor Kyoto: Roberto Servile, baritone Il Cieco: Nicolaj Ghiaurov, bass A Geisha: Michiè Nakamura, soprano A Haberdasher: Corrado Amici, tenor A Rag Merchant Ezio Di Cesare, tenor Teatro dell'Opera di Roma, Gianluigi Gelmetti, conductor Time: Nineteenth century. Place: Japan. Act I. The home of Iris near the city. The hour is before dawn. The music depicts the passage from night into day. It rises to a crashing climax -- the instrumentation including tamtams, cymbals, drums, and bells -- while voices reiterate, "Calore! Luce! Amor!" (Warmth! Light! Love!). In warmth and light there are love and life. A naturalistic philosophy, to which this opening gives the key, runs through "Iris." Fujiyama glows in the early morning light, as Iris, who loves only her blind father, comes to the door of her cottage. She has dreamed that monsters sought to injure her doll, asleep under a rosebush. With the coming of the sun the monsters have fled. Mousmés come to the bank of the stream and sing prettily over their work. Iris is young and beautiful. She is desired by Osaka, a wealthy rake. Kyoto, keeper of a questionable resort, plots to obtain her for him. He comes to her cottage with a marionette show. While Iris is intent upon the performance, three geisha girls, representing Beauty, Death, and the Vampire, dance about her. They conceal her from view by spreading their skirts. She is seized and carried off. Osaka, by leaving money for the blind old father, makes the abduction regal. When Il Cieco returns, he is led to believe that his daughter has gone voluntarily to the Yoshiwara. In a rage he starts out to find her. Act II. Interior of the "Green House" in the Yoshiwara. Iris awakens. At first she thinks it is an awakening after death. But death brings paradise, while she is unhappy. Osaka, who has placed jewels beside her, comes to woo, but vainly seeks to arouse her passions. In her purity she remain unconscious of the significance of his words and caresses. His brilliant attire leads her to mistake him for Tor, the sun god, but he tells her he is Pleasure. That frightens her. For, as she narrates to him, one day, in the temple, a priest told her that pleasure and death were one. Osaka wearies of her innocence and leaves her. But Kyoto, wishing to lure him back, attires her in transparent garments and places her upon a balcony. The crowd in the street cries out in amazement over her beauty. Again Osaka wishes to buy her. She hears her father’s voice. Joyously she makes her presence known to him. He, ignorant of her abduction and believing her a voluntary inmate of the "Green House," takes a handful of mud from the street, flings it at her, and curses her. In terror, she leaps from a window into the sewer below. Act III. Ragpickers and scavengers are dragging the sewer before daylight. In song they mock the moon. A flash of light from the mystic mountain awakens what is like an answering gleam in the muck. They discover and drag out the body of Iris. They begin to strip her jewels. She shows signs of life. The sordid men and women flee. The rosy light from Fujiyama spreads over the sky. Warmth and light come once more. Iris regains consciousness. Spirit voices whisper of earthly existence and its selfish aspirations typified by the knavery of Kyoto, the lust of Osaka, the desire of Iris’s father, Il Cieco, for the comforts of life through her ministrations. Enough strength comes back to her for her to acclaim the sanctity of the sun. In its warmth and light -- the expression of Nature’s love -- she sinks, as if to be absorbed by Nature, into the blossoming field that spreads about her. Again, as in the beginning, there is the choired tribute to warmth, light, love -- the sun!
I love the weird sordino effect at the beginning of the 3rd act (1:42:35). It seems that this is the only recording where they actually did it. Lovely.
I love this opera! Why isn't it performed anymore? The opening chorus is right up there with the prelude to Boito's Mephistopheles. It would bring down the house !
Grazie al grande Pietro Mascagni per quest'opera eccezionale nell'anniversario della sua morte 2 agosto 1945 a Roma. Qui Daniela Dessì-Iris-rivelazione in questa recita del gennaio 1996 al Teatro dell'Opera di Roma, con la regia, scene e costumi di Hugo de Ana, sul podio Gianluigi Gelmetti, e i partner José Cura, Nicolai Ghiaurov, Roberto Servile, Mikie Nakamura. Ricordo personale magnifico in teatro. Il video non rende bene la parte visiva, ma la parte musicale è splendida.
![[UNCUT] The Loyal Pin ปิ่นภักดิ์ EP.15 (3/4)](http://i.ytimg.com/vi/IVwR87OH0_A/mqdefault.jpg)
Grazie di ❤ per la condivisione di questa bellissima rappresentazione che ricordo bene...Cast stellare!!!Direttore Magico!
Infine commovente ultima recita di quel colosso della Lirica che fu Nicola Ghuaurov.
Bellisima opera. Mascagni grandioso en todo lo que hizo. Una puesta en escena vibrante. Voces inmejorables. Me recuerda Buterfly de Puccini.
When this was performed at Wexford Festival Opera in 1995 the final chorus was sung from the dress circle in the old Theatre Royal, leaving Iris alone on stage. It was spine tingling.
Iris: Daniela Dessì, soprano
Osaka: José Cura, tenor
Kyoto: Roberto Servile, baritone
Il Cieco: Nicolaj Ghiaurov, bass
A Geisha: Michiè Nakamura, soprano
A Haberdasher: Corrado Amici, tenor
A Rag Merchant Ezio Di Cesare, tenor
Teatro dell'Opera di Roma, Gianluigi Gelmetti, conductor
Time: Nineteenth century.
Place: Japan.
Act I. The home of Iris near the city. The hour is before dawn. The music depicts the passage from night into day. It rises to a crashing climax -- the instrumentation including tamtams, cymbals, drums, and bells -- while voices reiterate, "Calore! Luce! Amor!" (Warmth! Light! Love!). In warmth and light there are love and life. A naturalistic philosophy, to which this opening gives the key, runs through "Iris." Fujiyama glows in the early morning light, as Iris, who loves only her blind father, comes to the door of her cottage. She has dreamed that monsters sought to injure her doll, asleep under a rosebush. With the coming of the sun the monsters have fled. Mousmés come to the bank of the stream and sing prettily over their work. Iris is young and beautiful. She is desired by Osaka, a wealthy rake. Kyoto, keeper of a questionable resort, plots to obtain her for him. He comes to her cottage with a marionette show. While Iris is intent upon the performance, three geisha girls, representing Beauty, Death, and the Vampire, dance about her. They conceal her from view by spreading their skirts. She is seized and carried off. Osaka, by leaving money for the blind old father, makes the abduction regal. When Il Cieco returns, he is led to believe that his daughter has gone voluntarily to the Yoshiwara. In a rage he starts out to find her.
Act II. Interior of the "Green House" in the Yoshiwara. Iris awakens. At first she thinks it is an awakening after death. But death brings paradise, while she is unhappy. Osaka, who has placed jewels beside her, comes to woo, but vainly seeks to arouse her passions. In her purity she remain unconscious of the significance of his words and caresses. His brilliant attire leads her to mistake him for Tor, the sun god, but he tells her he is Pleasure. That frightens her. For, as she narrates to him, one day, in the temple, a priest told her that pleasure and death were one. Osaka wearies of her innocence and leaves her. But Kyoto, wishing to lure him back, attires her in transparent garments and places her upon a balcony. The crowd in the street cries out in amazement over her beauty. Again Osaka wishes to buy her. She hears her father’s voice. Joyously she makes her presence known to him. He, ignorant of her abduction and believing her a voluntary inmate of the "Green House," takes a handful of mud from the street, flings it at her, and curses her. In terror, she leaps from a window into the sewer below.
Act III. Ragpickers and scavengers are dragging the sewer before daylight. In song they mock the moon. A flash of light from the mystic mountain awakens what is like an answering gleam in the muck. They discover and drag out the body of Iris. They begin to strip her jewels. She shows signs of life. The sordid men and women flee. The rosy light from Fujiyama spreads over the sky. Warmth and light come once more. Iris regains consciousness. Spirit voices whisper of earthly existence and its selfish aspirations typified by the knavery of Kyoto, the lust of Osaka, the desire of Iris’s father, Il Cieco, for the comforts of life through her ministrations. Enough strength comes back to her for her to acclaim the sanctity of the sun. In its warmth and light -- the expression of Nature’s love -- she sinks, as if to be absorbed by Nature, into the blossoming field that spreads about her. Again, as in the beginning, there is the choired tribute to warmth, light, love -- the sun!
Wonderful like nearly all of Mascagni's Operas. He was the master of orchestration and melody.
This opera is underrated . The duet is lovely
…la melodia struggente è illuminata di delicato e raffinatissimo erotismo. Bellezza pura!
I love the weird sordino effect at the beginning of the 3rd act (1:42:35). It seems that this is the only recording where they actually did it. Lovely.
Bellissimo!!! Ringrazio dimitrovajunkie per averlo inserito!!!
Secondo me è un vero capolavoro! Grazie.
Holland Park summer 2016. I've booked. Can't wait!
I love this opera! Why isn't it performed anymore? The opening chorus is right up there with the prelude to Boito's Mephistopheles. It would bring down the house !
+Mark Evans It is being performed this summer as part of SummerScape at Bard College:
fishercenter.bard.edu/summerscape/
Can't wait to see it!
it will bring down the house at Holland Park this summer😀
Why Iris by Mascagni is absent from the repertory of the mayor Opera House?
Grazie al grande Pietro Mascagni per quest'opera eccezionale nell'anniversario della sua morte 2 agosto 1945 a Roma.
Qui Daniela Dessì-Iris-rivelazione in questa recita del gennaio 1996 al Teatro dell'Opera di Roma, con la regia, scene e costumi di Hugo de Ana, sul podio Gianluigi Gelmetti, e i partner José Cura, Nicolai Ghiaurov, Roberto Servile, Mikie Nakamura. Ricordo personale magnifico in teatro. Il video non rende bene la parte visiva, ma la parte musicale è splendida.
Al minuto 31:54 c'è un errore del baritono!! Infatti causa scompiglio sul palcoscenico!!