El Paso daily herald. (El Paso, Tex.) 1881-1901, 1898-12-26
MASCAGNrS new OPERA
"Iris" Received by Critical Rome
With Great Enthusiasm.
SERIOUS JAPANESE SUBJECT

.'Drama Based on Human Egotism."
the Author Describes 1.-THE Hero
inc Seeking For LfEht-Scenery IL
Marvellous For Beauty and Effect.
Best of All His Operas.
Mascagni's new opera Girls was re-
ceived with immense enthusiasm on its
first production, and promises to attain
the popularity of "Cavalleria. It un-
doubtedly is superior to all his other
works
Mascagni appeared in the Costanzi
theater in Rome at the same moment IS
Queen Margharita, and received an ova-
tion overshadowing that accorded to the
royal family. Pale, trembling, pro-
foundly moved as the audience acclaim
ed him with salvo after salvo of ap-
plause, Mascagni raised the baton. The
theater was darkened instantly, an in
novation resented fiercely by the Ro-
mans, who protested SO noisily for five
minutes that Mascagni could not pro-
coed; but the first bars of the overture
compelled silence, and the music, gain
ing in fascination as the theme devel-
oped, was raptuIously encored at the
close.
In Mascagni's own words, g Iris is
a drama based upon human egotism,
or, to be more precise, on the egotism
of three men conspiring against an in
nocent creature, whose life is one con-
tinual aspiration toward light, the soul
of the world, whose pleasures consist in
listening to the tales of the babbling
brook and in giving way to sunny rev.
cries that float before its childish mind. .
The scenery is of marvellous correct
ness, beauty and effect. The first scene
represents a street in Japanese village
lined with small houses, that of the hero
inc surrounded with miniature gar
den OVERLOOKING with flowers, flanked
by a limpid stream. When the curtain
rises, the stage is in perfect darkness
Almost insensibly dawn breaks, outlin-
ing the houses and trees until the light,
at first silvery, turns rosy, then yellow
and floods the whole scene. AT the same
time the volume of tone increases and
the chorus joins in triumphant hymn
to the rising sun.
The end of the first act was the signal
for another tremendous demonstration.
The composer and the singers were re-
called five times. The gem of the act
was the tenor serenade, which recalls
the "Siclliana" of "Cavalleria" trans
lated into japanese
The second act, exotic in its richness,
is in direct contrast to the freshness and
purity of the first One is transported
to Japan, with it's pagodas, lanterns
and characteristic costumes, the latter
all thin, delicately tinted, vaporous
silk and veritable feasts for the eye.
This act is much superior in construc-
ton to the first, but less easily under
stood by the ordinary public. Here and
there "reminiscences of "Cavalleria'
leak out. Several parts had to be re.
peated.
This act ended with every sign OF
popular favor.
The third act, although in part good,
is considered the weak point of the
opera. However, the many melodies
were we'll received, and at the finish
there was a touching demonstration tc
the composer, the author of the libretto
and the singers. The audience seemed
wild with enthusiasm. In a subsequent
interview Mascagni said his object was
to treat Japanese topic from serious
dramatic standpoint.
81 have not been content" he con.
| tinued, with two or three ideas, twist
| ed, repeated and reproduced, masquerade
| ed to hide monotonous repetition with
learned technicalities and cunning har
monic combinations. 1 have always
sought melody and hope I shall be ao.
oused of having found even too much.
say have sought melody, but in reality
WAITED for it to come. If did not