CD Iris [Cirque du Soleil] [CD] [1 disc] (CD 15828765),
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Iris [Cirque du Soleil] [CD] [1 disc]


  • 1. Buster's Big Opening - (with Cirque du Soleil)
    2. Twins, The - (with Cirque du Soleil)
    3. Kiriki Film - (with Cirque du Soleil)
    4. Kiriki - (with Cirque du Soleil)
    5. Silent Movie - (with Cirque du Soleil)
    6. Patterns - (with Cirque du Soleil)
    7. Clown Special Effects - (with Cirque du Soleil)
    8. Pellicule, Pts. 1 & 2 - (with Cirque du Soleil)
    9. Snake Women - (with Cirque du Soleil)
    10. Movie Studio - (with Cirque du Soleil)
    11. Broom, The - (with Cirque du Soleil)
    12. Flying Scarlett - (with Cirque du Soleil)
    13. Old Toys - (with Cirque du Soleil)
    14. Film Noir/Persuit - (with Cirque du Soleil)
    15. Rooftops - (with Cirque du Soleil)
    16. Scarlett Balancing - (with Cirque du Soleil)
    17. Iris Finale and Bows - (with Cirque du Soleil)
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  • Additional Info
    Manufacturer Part Number (MPN): CDSMCD 10042

  • Credits
    ProducerDanny Elfman
    EngineerDennis Sands; Noah Snyder; Greg Maloney

    Personnel: Elin Carlson (vocals); Katie Kirkpatrick (harp); Lorenz Gamma, Alyssa Park, Nina Evtuhov, Tammy Hatwan, Jackie Brand, Alan Grunfeld, Barbara Porter, Maia Jasper, Grace Oh, Marc Sazer, Lily Ho Chen, Becky Bunnell, Eve Butler, Tiffany Hu, Josefina Vergara, Julie Rogers, Sandy Cameron, Katie Sloan, Jenny Levin, Richard Altenbach, Bruce Dukov, Natalie Leggett, Sarah Thornblade, Roger Wilkie, Neel Hammond, Marina Manukian, Carol Pool, Charlie Bisharat, Tereza Stanislav (violin); Carolyn Riley, Dmitri Bovaird, Victoria Miskolczy, Rob Brophy, Luke Maurer, Michael Leiberman, Brian Dembow, Keith Greene, Roland Kato, Dave Walther, Alma Fernandez, Darrin McCann, Andrew Duckles (viola); Paula Hochhalter, Trevor Handy, Giovanna Moraga Clayton, Armen Ksajikian, Amanda Zidow, Tony Cooke, Erika Duke, Paul Cohen , Jodi Burnett, Tim Landauer , Cecilia Tsan, Steve Erdody (cello); Heather Clark, Steve Kujala (flute); Seth Stachowski (clarinet, saxophone); Ralph Williams , Gary Bovyer (clarinet); Leslie Reed, Phil Ayling (oboe); Judy Farmer, Rose Corrigan (bassoon); Dan Higgins, Greg Huckins, Bill Liston, Jeff Driskill, Chris Bleth (saxophone); Dan Fornero, Warren Leuning, Marissa Benedict, Jon Lewis , Barry Perkins , Rick Baptist (trumpet); Justin Hageman, Nathan Campbell, Phil Yao, Jenny Kim, Joe Meyer , Dan Kelley, Steve Becknell, Brad Warnaar (French horn); Alex Iles, Charlie Loper, Alan Kaplan, Phil Teele, Bill Reichenbach Jr. (trombone); Doug Tornquist (tuba); Deborah N. Hurwitz (piano); Ron Wagner (drums, percussion); Peter Limonick (timpani); Emil Radocchia, Bob Zimmitti, Eduardo Meneses (percussion).
    Audio Mixers: Dennis Sands; Alan Meyerson.
    Recording information: Studio Della Morte; The Newman Scoring Stage.
    Director: Philippe Decoufle.
    Editor: Shie Rozow.
    Photographers: Matt Beard; Mark Delong.
    Arrangers: Chris P. Bacon; David Slonaker.
    It's the iris of a camera that Cirque du Soleil has in mind in the title of a show staged at the Kodak Theatre in Los Angeles (where they hold the Academy Awards) and devoted to the movies. Appropriately, the organization has gone out and hired a prominent film composer to write the show's score, and it's hard to imagine a more complementary one than Danny Elfman, who is known for his zany, manic work for the visually imaginative and somewhat arch director Tim Burton. Given the Hollywood theme, it's no surprise that this is one of the less exotic scores done for a Cirque presentation; Elfman does lean toward the exotic slightly on "Snake Women," in a nod to cinema's more adventurous aspects, but this is far from world music. The show has a "history of the movies" theme that allows the composer to provide his versions of the kind of Keystone Kops comedy of the early silents, notably in the fast-paced "Kinki Film" cue. Elfman also dips into the big-band swing style of braying horns and pounding percussion here and there, including in "Buster's Big Opening" and "Movie Studio." But both of those cues are extended suites that feature several different sections so that, just as in a film score, Elfman is accompanying quickly changing visual action. Late in the show, the story has moved on into the 1930s and `40s with "Film Noir/Pursuit," and the music has mysterious and late-night jazzy elements, followed by "Rooftops," which provides identifiable chase rhythms. This is thus an unusual score for Cirque as the organization continues to expand its horizons and partner with established artists, blending its identity and providing a new outlet for a composer who has made his mark in Hollywood and whose music listeners will recognize in this stage extravaganza. ~ William Ruhlmann

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